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[Met Performance] CID:187310
Tristan und Isolde
Metropolitan Opera House, Wed, March 1, 1961
Tristan und Isolde (380)
Richard Wagner | Richard Wagner
Review 1:
Review of Jack Diether in Musical America
With Karl Liebl singing his first Tristan this season, Margaret Harshaw was called in on very short notice to replace Birgit Nilsson. This marked Miss Harshaw’s first Isolde in a couple of seasons.
She was vocally a more prudent than passionate Isolde, especially in the upper range. Her thorough familiarity with the role sustained her without basic difficulty, and she was able to give her attention to fine details in the vocal interpretation.
What was ultimately lacking were the longer soaring lines and the melting quality of the great climaxes, so that it remained more a thing of fine-colored patches than a sustained magnificence. Visually, Miss Harshaw was very impressive when she had only to stand or sit still; when she had to act, she was frequently in trouble.
Karl Liebl staggered too much under “emotion,” becoming spry only after he was wounded. He, too, seemed happiest when he could just sit and sing lovely music. His voice blended better in the duet than Mr. Viany’s has for some time. In the final act, his “furchtbarer Trank” passage and moments of teamwork with Walter Cassel’s inspiring Kurvenal were very fine.
The orchestra was in good tone, and Mr. Rosenstock elicited an eloquent rendition of its most rewarding assignment.
Search by season: 1960-61
Search by title: Tristan und Isolde,
Met careers
Tristan und Isolde
Metropolitan Opera House, Wed, March 1, 1961
Tristan und Isolde (380)
Richard Wagner | Richard Wagner
- Tristan
- Karl Liebl
- Isolde
- Margaret Harshaw
- Kurwenal
- Walter Cassel
- Brangäne
- Irene Dalis
- King Marke
- Jerome Hines
- Melot
- Calvin Marsh
- Sailor's Voice
- Charles Anthony
- Shepherd
- Paul Franke
- Steersman
- Louis Sgarro
- Conductor
- Joseph Rosenstock
Review 1:
Review of Jack Diether in Musical America
With Karl Liebl singing his first Tristan this season, Margaret Harshaw was called in on very short notice to replace Birgit Nilsson. This marked Miss Harshaw’s first Isolde in a couple of seasons.
She was vocally a more prudent than passionate Isolde, especially in the upper range. Her thorough familiarity with the role sustained her without basic difficulty, and she was able to give her attention to fine details in the vocal interpretation.
What was ultimately lacking were the longer soaring lines and the melting quality of the great climaxes, so that it remained more a thing of fine-colored patches than a sustained magnificence. Visually, Miss Harshaw was very impressive when she had only to stand or sit still; when she had to act, she was frequently in trouble.
Karl Liebl staggered too much under “emotion,” becoming spry only after he was wounded. He, too, seemed happiest when he could just sit and sing lovely music. His voice blended better in the duet than Mr. Viany’s has for some time. In the final act, his “furchtbarer Trank” passage and moments of teamwork with Walter Cassel’s inspiring Kurvenal were very fine.
The orchestra was in good tone, and Mr. Rosenstock elicited an eloquent rendition of its most rewarding assignment.
Search by season: 1960-61
Search by title: Tristan und Isolde,
Met careers