[Met Concert or Gala] CID:3420



Grand Concert
Metropolitan Opera House, Sun, January 25, 1885




Grand Concert



Metropolitan Opera House
January 25, 1885

GRAND CONCERT

For the Benefit of the Chorus of the
Metropolitan Opera House

Tannh?user: Overture

Die Meistersinger von N?rnberg: Choral

[Note: This selection is listed in the program as "Choral."
We assume that it is the Act III section that begins with the words, "Wachet auf!."]

Die Zauberfl?te: Sarastro Aria
Joseph K?gel

Rubinstein: Der Engel; Wanderers Nachtlied
Auguste Seidl-Kraus
Anna Gutjar

Hamlet: Mad Scene
Hermine Bely

Schubert: Three Selections
Anton Schott

Eckert: Wilhelm von Oranien: Aria (repeated)
Marianne Brandt

La Damnation de Faust: Dance of the Sylphs; Hungarian March

Rienzi: Gerechter Gott
Amalie Materna

Karl Friedrich Curschmann: Ti prego
Anna Slach
Marianne Brandt
Anton Udvardy

Un Ballo in Maschera: Eri tu
Adolf Robinson

Handel: Israel in Egypt: The Lord is a man of war
Alkuir Blum
Josef Staudigl

Abt: Wenn du im Traum
Nicolai: O sieh mich nicht so l?chelnd an
Schumann: Wanderlied
Anton Schott

Allessandro Stradella: An dem linken Strand der Tiber
Otto Kemlitz
Joseph Miller

Mendelssohn: Loreley: Ave Maria
Auguste Seidl-Kraus

Conductor...............Leopold Damrosch

Piano...................John Lund


There were two concerts this season.






There were two concerts this season.
This selection is listed in the program as "Choral." We assume that it is the Act III section that begins with the words, "Wachet auf!."

Review 1:

Review in The New York Times

The concert given at the Metropolitan Opera House last evening for the benefit of the chorus of that establishment does not claim detailed notice, but may be referred to briefly as having passed off pleasantly in an artistic sense, and profitably in respect of the receipts. Almost all the artists of the Metropolitan took part in the entertainment. Frau Materna contributed Adriano's air from "Rienzi," one of the really tuneful things Wagner has written, and a fine specimen of cantabile in the much-abused Italian style. The Austrian prima donna rendered this number with genuine feeling, with much smoothness and breadth of delivery, and with a beautiful quality of tone. Fr?ulein Brandt delighted the audience with her interpretation of an aria by Eckert, and her work was so impressive that the decision not to accede to encores (which would have been printed upon the house bill had there been any at hand) had to be set aside. Fr?ulein Bely's small but agreeable voice and excellent execution were revealed in the "mad scene" from Ambroise Thomas's "Hamlet." Herr Schott sang with dignity and warmth songs by Schubert, Abt, and other worthies, and a variety of vocal pieces brought before the audience in turn Herren Staudigl, Udvardi and Blum, Frau Kraus and Fr?ulein Slach. The orchestra, under Dr. Damrosch, played the overture to "Tannh?user," and the "Sylphs' Dance" and "Rakoczy March" from Berlioz's "Damnation de Faust."



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