[Met Performance] CID:260270



Lohengrin
Metropolitan Opera House, Thu, January 24, 1980

Debut : Peter Hofmann




Lohengrin (572)
Richard Wagner | Richard Wagner
Lohengrin
Peter Hofmann [Debut]

Elsa
Teresa Zylis-Gara

Ortrud
Mignon Dunn

Telramund
Vern Shinall

King Heinrich
Bonaldo Giaiotti

Herald
Arthur Thompson

Gottfried
Daniel Smith

Noble
Robert Goodloe

Noble
Andrea Velis

Noble
Philip Booth

Noble
Charles Anthony


Conductor
Giuseppe Patanè







Review 1:

Review of Bill Zakariasen in the Daily News

Peter Hofmann Sings a Great Lohengrin

When German tenor Peter Hofmann made his New York debut a year ago in a concert version of "Fidelio," he was complimented for his good looks but scored by critics for a malformed vocal technique. Well, Hofmann made his Metropolitan Opera debut Thursday night in the title role of "Lohengrin" and it appears he has been taking criticism to heart. Now he's allowing his attractive voice to ring some in the head instead of wallowing in the throat. As a result, he was one Lohengrin who ended his performance stronger than he began it.

Indeed Hofmann, in sum, was one of the great Lohengrins in Met history. His voice is not fundamentally large, but his tone possesses a rare warmth and power of projection, His phrasing was of intense expressiveness, the tone constantly changing color with the emotions. Hofmann is in addition without a doubt the most gorgeous man on the operatic stage today (sort of an early Errol Flynn), and he used his stunning physical presence to maximum dignity and dramatic effect. His was the sort of performance Wagnerians have been daydreaming about for decades.

The fearsome wobbles afflicting Vern Shinall's first Telramund indicated a severe indisposition - he definitely has done better in this repertory in the past. Another baritone, Arthur Thompson, gave great pleasure at crucial moments with his authoritative Herald. By the way, Hofmann (who is a big favorite with the teenybopper set in Germany) has recently come out with a best selling disco album. Maybe we should have second thoughts about this much-maligned musical form.



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