[Met Performance] CID:3010

Metropolitan Opera Premiere, New Production

Fidelio
Metropolitan Opera House, Wed, November 19, 1884

Debut : Marianne Brandt, Josef Staudigl




Fidelio (1)
Ludwig van Beethoven | Joseph Sonnleithner
Leonore
Marianne Brandt [Debut]

Florestan
Anton Schott

Don Pizarro
Adolf Robinson

Rocco
Joseph Miller

Marzelline
Auguste Seidl-Kraus

Jaquino
Otto Kemlitz

Don Fernando
Josef Staudigl [Debut]

First Prisoner
Emil Tiferro

Second Prisoner
Ludwig Wolf


Conductor
Leopold Damrosch


Director
Wilhelm Hock

Set Designer
Charles Fox, Jr.

Set Designer
William Schaeffer





Fidelio received eight performances this season.

Review 1:

Review of W. J. Henderson in The New York Times

...Fr?ulein Amelia Brandt, a mezzo soprano and contralto, who has long been a favorite with audiences in Germany, effected her first appearance as Leonore, and wrought an immediate and decisive impression. Her voice is brilliant and powerful, her method eclectic, by which we would imply that she has the vigorous enunciation and accent of the German school of song, and no little of the fluency and taste of the Italian, and as an actress she is intelligent, impassioned, and forceful. Three recalls followed the rendering of "Abscheulicher."...Fr?ulein Kraus' Marzelline was an excellent performance, and particularly interesting as showing her versatility....Herr Schott as Florestan was in much better form than on the occasion of his debut. That he is an artist of experience, and the very reverse of a mere vocalist, was already perceptible on Monday, but overexertion told so severely on his voice that judgment upon his merits had to be suspended. Last night he was heard to much greater advantage, and he sang Florestan's music in the second act with infinite pathos and considerable charm....Herr Robinson...personated Pizarro, and did all that could be done with that thankless character, whose single air is so overwhelmed by the orchestral accompaniment that no singer in the memory of man has managed to make its measures audible. Herr Staudigl was seen as Don Fernando, but the role is so unimportant that another opportunity must be awaited before speaking of the newcomer's voice and talent. Herr Miller was an efficient Rocco, the chorus was numerically strong and reasonably well drilled and Dr. Damrosch's orchestra was perfect.



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