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[Met Tour] CID:165440
Tannhäuser
The American Academy of Music, Philadelphia, Pennsylvania, Tue, April 6, 1954
Tannhäuser (372)
Richard Wagner | Richard Wagner
Review 1:
Review of Max de Schauensee in the Philadelphia Evening Bulletin
Metropolitan Opera Stages Distinctive ”Tannhäuser”
The Metropolitan Opera Association brought its 1953-54 season to a close at the Academy of Music last might with an evocative performance of Richard Wagner’s “Tannhäuser.”
The fine old opera had not been heard here since December 18, 1945. In view of the fact that this season’s “Tannhäuser,” is a new production, completely restudied and recast, its reappearance in these pats was thrice welcome.
The seldom-heard Dresden version has been used for this revival, and it would appear that this somber edition is more in keeping with the story than the admittedly more brilliant and later Paris version with its greatly expanded ballet.
Without Cuts
Last night’s performance began promptly at 7:30 and lasted almost four hours, for as far as could be ascertained, the opera was given without cuts.
Herbert Graf’s stage direction could not have been bettered. It radiated the true feeling and atmosphere, pointing up the latent possibilities in “Tannhäuser. This is surely one of the best things Mr. Graf has done in his several years at the Metropolitan.
The new production – décor and costumes – is Rolf Gerard’s. There is a suggestion of Botticelli in Venus’ costume and in her reclining in her shell. There have been more spacious and imaginative Venusbergs.
Magnificent Hall
The transition to Spring in the Valley of the Wartburg was a little awkward, and the tender contrast was hardly suggested by the cold and withdrawn northern landscape so forthrightly portrayed by Mr. Gerard.
Magnificent was the great hall of the Wartburg with its assemblage of heraldry and gorgeously glowing costumes. However, effective and eye-filling as it was, it suggested more the architecture of Sienna or Ravenna, rather than the medieval German castle.
The final scene had the proper sadness of autumn and a feeling of desolation that was entirely appropriate, as Wolfram’s evening star pricked the fading sky.
Musically, the opera was quite revivified. Max Rudolf brought knowledge and unerring taste to his conducting of a difficult score. His sense of balance between orchestra and singers was a study of infinite concern and care. Under Mr. Rudolf’s direction worked a handsome and vocally superior cast.
Always an Artist
Ramon Vinay as Tannhäuser, suffering from a virus, had to undergo a temporary loss of voice during the second act, but with caution and a fascinating display of resourcefulness, he made a strong comeback during the Roman Narrative of the final scene. Pictorially Mr. Vinay is an unusually effective Tannhäuser; he is always an artist.
Margaret Harshaw, Philadelphia’s contribution to Wagnerian opera, has never sung so well here. The impact of her voice in the [starting] “Dich theure Halle” is that of a truly important voice, and her sincerity and seriousness of purpose are admirable qualities she is able to bring to the role. Her “Prayer” was beautifully sung.
George London as Wolfram, caught the public’s fancy as well he might, for he made a stalwart figure of the sentimental bard, and his singing was charged with dignity and authority. His voice seemed to lack flow and definition in the second act but his final scene with the “Evening Star” found him at his best.
Child’s Play for Hines
One of the finest contributions of the evening was Jerome Hines’ Landgraf Hermann. Seldom has this role been sung here with such freshness, clarity, volume and sonority; and the range was child’s play for Mr. Hines.
Mme. Astrid Varnay was the Venus, and her impersonation carried conviction though her singing was variable. Brian Sullivan’s solo stood out during the “Singer’s War.” And Clifford Harvout was a vengeful Bitterolf. Heidi Krall sang the pretty and atmospheric Shepherd’s song rather too enthusiastically for the taste of this onlooker. The chorus was splendid in the second act.
“Tannhäuser” with its pageantry and distinctive flavor, saw the Metropolitan’s season out on a mode of high quality and distinction.
Search by season: 1953-54
Search by title: Tannhäuser,
Met careers
Tannhäuser
The American Academy of Music, Philadelphia, Pennsylvania, Tue, April 6, 1954
Tannhäuser (372)
Richard Wagner | Richard Wagner
- Tannhäuser
- Ramon Vinay
- Elisabeth
- Margaret Harshaw
- Wolfram
- George London
- Venus
- Astrid Varnay
- Hermann
- Jerome Hines
- Walther
- Brian Sullivan
- Heinrich
- Paul Franke
- Biterolf
- Clifford Harvuot
- Reinmar
- Norman Scott
- Shepherd
- Heidi Krall
- Conductor
- Max Rudolf
Review 1:
Review of Max de Schauensee in the Philadelphia Evening Bulletin
Metropolitan Opera Stages Distinctive ”Tannhäuser”
The Metropolitan Opera Association brought its 1953-54 season to a close at the Academy of Music last might with an evocative performance of Richard Wagner’s “Tannhäuser.”
The fine old opera had not been heard here since December 18, 1945. In view of the fact that this season’s “Tannhäuser,” is a new production, completely restudied and recast, its reappearance in these pats was thrice welcome.
The seldom-heard Dresden version has been used for this revival, and it would appear that this somber edition is more in keeping with the story than the admittedly more brilliant and later Paris version with its greatly expanded ballet.
Without Cuts
Last night’s performance began promptly at 7:30 and lasted almost four hours, for as far as could be ascertained, the opera was given without cuts.
Herbert Graf’s stage direction could not have been bettered. It radiated the true feeling and atmosphere, pointing up the latent possibilities in “Tannhäuser. This is surely one of the best things Mr. Graf has done in his several years at the Metropolitan.
The new production – décor and costumes – is Rolf Gerard’s. There is a suggestion of Botticelli in Venus’ costume and in her reclining in her shell. There have been more spacious and imaginative Venusbergs.
Magnificent Hall
The transition to Spring in the Valley of the Wartburg was a little awkward, and the tender contrast was hardly suggested by the cold and withdrawn northern landscape so forthrightly portrayed by Mr. Gerard.
Magnificent was the great hall of the Wartburg with its assemblage of heraldry and gorgeously glowing costumes. However, effective and eye-filling as it was, it suggested more the architecture of Sienna or Ravenna, rather than the medieval German castle.
The final scene had the proper sadness of autumn and a feeling of desolation that was entirely appropriate, as Wolfram’s evening star pricked the fading sky.
Musically, the opera was quite revivified. Max Rudolf brought knowledge and unerring taste to his conducting of a difficult score. His sense of balance between orchestra and singers was a study of infinite concern and care. Under Mr. Rudolf’s direction worked a handsome and vocally superior cast.
Always an Artist
Ramon Vinay as Tannhäuser, suffering from a virus, had to undergo a temporary loss of voice during the second act, but with caution and a fascinating display of resourcefulness, he made a strong comeback during the Roman Narrative of the final scene. Pictorially Mr. Vinay is an unusually effective Tannhäuser; he is always an artist.
Margaret Harshaw, Philadelphia’s contribution to Wagnerian opera, has never sung so well here. The impact of her voice in the [starting] “Dich theure Halle” is that of a truly important voice, and her sincerity and seriousness of purpose are admirable qualities she is able to bring to the role. Her “Prayer” was beautifully sung.
George London as Wolfram, caught the public’s fancy as well he might, for he made a stalwart figure of the sentimental bard, and his singing was charged with dignity and authority. His voice seemed to lack flow and definition in the second act but his final scene with the “Evening Star” found him at his best.
Child’s Play for Hines
One of the finest contributions of the evening was Jerome Hines’ Landgraf Hermann. Seldom has this role been sung here with such freshness, clarity, volume and sonority; and the range was child’s play for Mr. Hines.
Mme. Astrid Varnay was the Venus, and her impersonation carried conviction though her singing was variable. Brian Sullivan’s solo stood out during the “Singer’s War.” And Clifford Harvout was a vengeful Bitterolf. Heidi Krall sang the pretty and atmospheric Shepherd’s song rather too enthusiastically for the taste of this onlooker. The chorus was splendid in the second act.
“Tannhäuser” with its pageantry and distinctive flavor, saw the Metropolitan’s season out on a mode of high quality and distinction.
Search by season: 1953-54
Search by title: Tannhäuser,
Met careers