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[Met Tour] CID:165590



Tannhäuser
Public Auditorium, Cleveland, Ohio, Tue, April 20, 1954









Review 1:

Review of Elmore Bacon in the Cleveland News
Heidi Krall Makes Bow, Varney, Vinay Star

“Tannhäuser” in its new trappings and with a notable cast was given a remarkably fine performance last night in all its pageantry and color as second feature in the Met Opera Festival at Public Hall. And an almost capacity crowd turned out for this Wagnerian opus over which Cleveland’s George Szell and the Met Opera boss, Rudolf Bing had a late winter tiff.

The new production sparkles and glows. The Venusberg scene, the wayside shrine, the great hall and the closing valley scenes had color, light and magnificence as produced by Herbert Graf. And with Astrid Varnay as Elisabeth and Ramon Vinay as Tannhäuser all of the Wagnerian landmarks came through with fine artistry under the inspired beat of Max Rudolf.

Even the pilgrims, singing their chorus with a spiritual fervor and certainty, were in neat and clean costumes as compared to some of the dingy dusters of the past, And there wasn’t a piece of moth-eaten scenery in the production. It was a sign of new life that was initiated by the singing of the cast and the chorus.

Heidi in Debut

And it was a big night for Heidi Krall, Toledo girl who got her music start in Cleveland. She brought to the small role of the Shepherd a beautiful, powerful soprano, expertly used, besides polish and beauty and the ability to make the most out of the part without overdoing it. She won a special salute from the audience.

This Wagnerian opus, based on German legends with various additions was opened with a performance of the fabulous overture that brought Director Rudolf and the orchestra to their feet twice for long continued applause. It was a truly inspired performance. And throughout Director Rudolf’s baton artistry provided ingenious shadings, towering climaxes and all of the marvelous tonal warmth in the dramatic and moving Wagnerian music.

The Vinay Tannhäuser was a fine representative of the confused and bewitched minnesinger held in the power of Venus. While we have heard more powerful voices singing the part, his was well rounded and when needed soared out over orchestra and chorus properly.

Regina Resnick whom we remember as Met Auditions winner some years ago was a notable and voluptuous Venus, both in appearance and voice. There’s depth and beauty in her soprano that have brought her right up to the top in Met circles.

Miss Varnay was a beautiful and fine voiced Elisabeth. Singing the part in the place of the indisposed Margaret Harshaw, she gave the role dignity, as well as sweetness and devotion. Her “Dich theure Halle” was beautifully done, and throughout there was power and discipline, lovely voice and skill, and art in portraying the part of the Landgraf’s niece whose sweetheart was stolen by Venus.

George London, well-known here, was a dignified and tender Wolfram in the defense of his friend Tannhäuser. He revealed a baritone that is virile, pure and flexible. As we have noted before there is always artistry in his vocalizing. His “Evening Star” song in the last act was inspired singing that won him long continued applause.

Jerome Hines was a deep voiced and clever Landgraf Hermann. Brian Sullivan as Walther, Clifford Harvout as Biterwolf, Paul Franke as Heinrich and Norman Scott as Reinmar were excellent in their roles.

The great Hall in the Wartburg with the guests seated on the raised steps on one side and the minnesingers on the other, and a row of trumpeters high up over the guests was really striking. It was a picture of pageantry and brilliance. The bright colors, the clever costuming of the knights and their ladies and of course the vocal display made it a Wagnerian opera spot to remember.

The Venusberg scene [starting] the opera with another clever feature with a Venus style ballet that was brilliant, colorful and exciting, the grotto itself with Venus in a huge shell being a clever stage feature.

And once again Harpist Rheinhardt Elster deserved a special bow for his work in the hall scene, subbing for the little harps used by the minnesingers.
Review 2:

Arthur Loesser in the Cleveland Press

The Met’s “Tannhäuser” last night under the expert baton of Max Rudolf was a performance of high order of merit, ranging from satisfactory to thrilling.

The co-called “Dresden” version of the opera was given, one not often heard here, but the one representing Wagner’s original thought, 15 years before he altered it to compromise with Paris taste.

It is dramatically the more logical version, since in it the Venusberg scene, which is purely sensational, is much shorter, while the Tournament of Song, which contains the essence of the work’s philosophical conflict, is given its proper full length.

Rolf Gerard’s new sets and costumes added substantially to the general enjoyment. The pink spiral of the Venusberg was highly effective; while the sedate landscape with the Wartburg towers in the distance received its fulfillment when it appeared changed to autumnal brown in the last act.

Notably eye-appealing were the magnificent costumes, head dresses, shields, and standards of the principals and guests in the Wartburg Hall scene, all authentically medieval, I am told.

London Wins Honors

Vocal honors go to George London as Wolfram. His tone production was robust and smooth, while his control of line and shading and the sympathetic characterization of his part were of distinguished quality and stamped him again as an artist of very high rank.

Ramon Vinay’s portrayal of the title role had many good qualities, still one seemed to feel an excess of reserve, perhaps a shade of timidity in his general projection.

Astrid Varnay as Elizabeth did not, for a while, make us feel that her work was rising above an average level of good professional competence. However, she discovered her higher capabilities in the last act, where she delivered the Prayer with remarkable dignity, sweetness and depth of feeling.

Heidi Krall Pleasant

Regina Resnik did competent singing as Venus, as did Jerome Hines as the Landgraf. Heidi Krall gave pleasure with her short but conspicuous lines as the shepherd boy. Brian Sullivan, Clifford Harvout, Paul Franke and Norman Scott skillfully made their minor contributions to the whole.

A particularly exhilarating episode was the “entrance of the guests” into the Wartburg in Act II, yet I felt the March and chorus might have been even more impressive at a slightly slower speed.

Minor blemishes must probably be ascribed to the vagaries of the PA system and the dimensions of Public Hall. I refer to the peculiar sounds accompanying the off-stage chorus in Act I, the overly aggressive cymbals in the overture, and the apparent weakening of the Landgraf’s voice when he had to sing from his throne, far from his mike.

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Met careers

• Max Rudolf [Conductor]
• Ramon Vinay [Tannhäuser]
• Astrid Varnay [Elisabeth]
• George London [Wolfram]
• Regina Resnik [Venus]
• Jerome Hines [Hermann]
• Brian Sullivan [Walther]
• Paul Franke [Heinrich]
• Clifford Harvuot [Biterolf]
• Norman Scott [Reinmar]
• Heidi Krall [Shepherd]