Metropolitan Opera Archives

A new Brünnhilde brought fresh interest to the fifth and last performance of "Götterdärnmerung" this season, and won honors in her own right as a genuine dramatic soprano of abundant present achievements and potentialities for real distinction. The transmutation of a contralto or mezzo-soprano voice into the soprano range is seldom accomplished with success, but Margaret Harshaw seems to have done it. The singer, who made her debut in 1942 as a Norn in this same opera, and who advanced to leading mezzo-soprano roles in all branches of the repertoire, gave evidence as Senta in "Der Fliegende Hollander" last season that the soprano tessitura was her domain. Now she has re-established her claim. She has sung only the lower-voiced roles so far this season, including appearances as Waltraute and the Third Norn in the first three performances of "Götterdärnmerung," so that her emergence into the higher stratum was the more to her credit. She almost had a chance at Brünnhilde when Astrid Varnay's plane was late on the way to New York to substitute for Helen Traubel on Dec. 17, but Miss Varnay arrived at the last moment and Miss Harshaw sang Waltraute as she had originally been scheduled to do.

Her Brünnhilde was commanding from the first. Her voice showed no remainder of mezzo-soprano timbre, yet was warm and rich in the lower register. It carried its roundness and steadiness to the very top, and was produced easily and flexibly, even in most moments of great stress. Once or twice Miss Harshaw attacked a high note thinly, but then almost instantly infused it with strength and warmth. She progressed in confidence as the scenes wore on, and the immolation scene was her highest vocal achievement. No fatigue or strain was apparent at any time.

Miss Harshaw's impersonation was dignified and restrained in character, although she moved with considerable grace when violent action was required, and an inner tension informed the moments of statuesque immobility. This Brünnhilde rejected Waltraute's plea to give up the ring with scorn rather than with horror and struggled with the disguised Siegfried piteously rather than frantically. The oath on the spear was impressive for its controlled malignance and Brünnhilde's acceptance of Siegfried's doom had fatalistic overtones.

The audience was alert for something new and vital, for at Miss Harshaw's first entrance, spontaneous applause broke out and, contrary to the usual practice at such an outrage of Wagnerian convention, no "shushes" were. heard. The auditorium remained almost full for many moments after the curtain fell and the heroine of the evening received several curtain calls.

There were three other newcomers to the cast. Elisabeth Hoengen sang Waltraute for the first time here, with more sincerity and dramatic force than vocal distinction. Alois Pernerstorfer sang his first Alberich at the Metropolitan and Irene Jessner returned to the company to sing Gutrune.

The remainder of the cast was familiar - Set Svanholm as Siegfried, Paul Schoeffler as Gunther and Dezso Ernster as Hagen. Mr. Svanholm was in fine voice, and improved his acting in the first scene of the third act by modifying his hitherto too exuberant gestures of welcome to the vassals as they entered with trophies of the hunt. In other roles were Lucine Amara, Paula Lenchner, Herta Glaz, Jean Madeira, Martha Lipton, Emery Darcy and Osie Hawkins.

It was an unusually lively performance, finishing a full quarter-hour before midnight, for Fritz Stiedry conducted spiritedly, allowing no dragging.

Review 2:

Review of Howard Taubman in The New York Times
New Brünnhilde Born at the 'Met' As Harshaw Scores in Opera Lead

U. S. Contralto Turned Dramatic Soprano Proves Her Mettle in “Götterdämmerung”

A new Brünnnhilde, one with a rich, clear and dramatic voice, was born on the stage of the Metropolitan Opera House last night.

She was Margaret Harshaw, an American who joined the company in November, 1942, as a contralto and who is turning to the dramatic soprano repertory. For her first Brünnhilde last night she tackled the most difficult of the three — the one in "Gotterdammerung" — and she sang with the commanding assurance of a veteran.

Dramatic sopranos who can sing Brünnhilde are among the scarcest creatures in the entire operatic world, and there are fewer than a handful here and in Europe who can do the role in first-rate fashion. The Metropolitan has a right to feel cheerful this morning. The pure meld of a fine Brünnhilde it turned out, was not at the end of some unreachable rainbow, but right in its midst.

Miss Harshaw, who has sung a wide variety of contralto and mezzo roles at the Metropolitan, gave notice last season that she was on her way into the soprano field when she sang Senta in "The Flying Dutchman." But obviously the girl who made her debut at the Metropolitan as a Norn in this very "Gotterdammerung" and later graduated to Waltraute has been working intensively in preparation for the big step up.

The most remarkable thing about her voice last night was that it retained no vestige of its contralto ambience. It was clean and bright, without a trace of throatiness or chestiness. It was all of a piece, and it was projected with a power and brilliance thrilling to hear.
Miss Harshaw's performance, both in singing and playing, grew from strength to strength as the long evening went on. It was as if she gained confidence with every scene, and in the second act, though surrounded by veterans, she had poise and conviction. If Miss Harshaw continues to improve at this rate, she will be a great Wagnerian singer.

It was a lively performance, this "Gotterdammerung." and a credit to the resources of the Metropolitan, which could put it on the night after a dazzling, passionate new "Carmen." Fritz Stiedry, last night's conductor, did an excellent job of pacing the performance, and his orchestra played with admirable freshness.

The cast was strong almost all the way down the line, with Set Svanholm as a lyrical Siegfried, Paul Schoeffler as an imaginative Gunther, Irene Jessner as a sensitive Gutrune and Deszo Ernster as an intelligent Hagen. Of this season's newcomers Elisabeth Hoengen sang Waltraute musically but without vocal opulence, and Alois Permerstorfer managed Alberich capably.

But sweeping as is the genius of this music drama, it was Miss Harshaw's night. Another American singer moved into the big time.

Search by season: 1951-52

Search by title: Götterdämmerung,

Met careers