[Met Performance] CID:4850



Rienzi
Metropolitan Opera House, Sat, February 27, 1886 Matinee





Rienzi (6)
Richard Wagner | Richard Wagner
Cola Rienzi
Eloi Sylva

Irene
Lilli Lehmann

Paolo Orsini
Adolf Robinson

Adriano
Marianne Brandt

Stefano Colonna
Emil Fischer

Raimondo
Philip Lehmler

Baroncelli
Otto Kemlitz

Cecco del Vecchio
Emil S?nger

Messenger
Ida Klein

Dance
unknown


Conductor
Anton Seidl







Review 1:

Review in The New York Times:

METROPOLITAN OPERA HOUSE

Yesterday afternoon's representation of "Rienzi" at the Metropolitan Opera House passed off with the wonted brilliancy, and the crowded condition of the auditorium indicated that the public has not yet wearied of Wagner's earliest operatic effort. It will only be given once again this season, however, and, having been withdrawn before the curiosity and interest of local audiences were sated, speculative observers will have to wait until next Winter before expressing a definite opinion as to the durability of its success. The admirable interpretation of "Rienzi" by the company of the Metropolitan and the splendor of its stage attire have had quite as much to do with the drawing power of the work as the impressiveness of its story and the charm and force of the composer's music. If its performance has not been the very best of the many good performances that are remembered in connection with the season's progress, it is certainly to be set down as second to none in respect of the fitness of the artists for their respective tasks and of the magnificence of the "mise on scene." Rienzi has undoubtedly been M. Sylva's happiest effort, and the other important r?les in the opera have had in Fr?ulein Lehmann, in Fr?ulein Brandt, and in Herren Fischer and Robinson thoroughly adequate representatives. The scenery and costumes, in point of substantial richness, have only been outdone by those of "The Queen of Sheba," but the production of Goldmark's achievement must hereafter be cited as "hors contours." Of yesterday's rendering of "Rienzi" it is only necessary to say that it. was carried on by the performers that first appeared in Wagner's setting of Bulwer's romance, and that the finale of the second act, Fr?ulein Brandt's air in act the third, and the noisy but effective finale which Rienzi sits through (after the fashion of the Commendatore in "Don Giovanni") on a placid steed were all promptly and heartily applauded



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