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Wagner's " Die Meistersinger" was repeated at the Metropolitan Opera House last evening in the presence of a large and brilliant audience. Every seat in the house was occupied and the greater portion of the available standing room was taken up. The progress of the opera was watched with deep and unflagging interest and its more striking features called forth spontaneous bursts of hearty applause. Masterpieces happily improve, like wine, with age. With them familiarity does not breed contempt, but serves only to intensify reverent admiration. Great poems can be read, great pictures can be seen and great compositions can be heard many times with growing pleasure. This is probably more especially the case with an opera. It is not until one has become thoroughly acquainted with all the polyphonous mosaic of a great score that he fully appreciates and enjoys its beauty. It was to be expected, then, that "Die Meistersinger" would awaken fresh enthusiasm at its second performance and that its beauties would meet with even quicker recognition than they did at the initial representation. There is such a wealth of rich and noble music in it the mind fails to grasp their extent all at once. The continuous flow of broad and virile instrumentation, compassing every orchestral tone from that of passion to that of ridicule, is a study in itself, while the chief vocal passages, instinct with life and feeling, serve to awaken the deeper emotions of the bearer. The performance last evening was enjoyable in every respect. In its histrionic aspect it moved with vivacity, directness and intelligence, while musically it was imbued with true Wagnerian spirit. Herr Fischer sang the music of Hans Sachs with much spirit and acted the role with a fine assumption of manly dignity and good feeling. Herr Stritt's Walther was picturesque and broadly handled and he treated the music with artistic judgment and richness of vocal expression. He sang his prize song with great vigor and awoke the enthusiasm of the audience. Herr Kemlitz was full of unctuous humor as Beckmesser and his serenade in the second act was a capital piece of comic singing and acting. Frau Krauss's Eva was a pleasing performance in every respect, while Fr?ulein Brandt displayed excellent comedy talent as Magdalena. Herr Staudigl's Pogner was a dignified performance and his singing of the address was warmly received. The chorus and orchestra were in good form and performed their duties admirably, while Herr Seidl conducted with most commendable skill and judgment. The effective finale or the second act again called forth the most emphatic demonstrations of delight on the part of the audience and, after the fall of the curtain, the leading artists were three times summoned to the footlights, while Herr Seidl received an especially hearty call.

Search by season: 1885-86

Search by title: Die Meistersinger von N?rnberg,

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