[Met Performance] CID:6050



Siegfried
Metropolitan Opera House, Fri, November 11, 1887




Siegfried (2)
Richard Wagner | Richard Wagner
Siegfried
Max Alvary

Br?nnhilde
Lilli Lehmann

Wanderer
Emil Fischer

Erda
Marianne Brandt

Mime
Jos? Ferenczy

Alberich
Rudolph Von Milde

Fafner
Johannes Elmblad

Forest Bird
Auguste Seidl-Kraus


Conductor
Anton Seidl







Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

"Siegfried" was again performed at the Metropolitan Opera House last night, and its success is now as established fact. The large auditorium was crowded, the boxes being filled with a most brilliant array of society. The progress of the music-drama was regarded by the entire audience with the deepest interest which showed that the work had taken a firm hold on the public heart. Mr. Stanton is to be congratulated on having produced "Siegfried" for it is likely to have many profitable repetitions. The lateness of the hour at which the performance was concluded on Wednesday night and the necessity of devoting much space to a consideration of the manic-drama itself precluded the possibility of devoting sufficient attention to the presentation. It is characteristic of the management of the Metropolitan Opera House to make little to do about its labors. Yet the operas produced there are presented to the public in a most complete manner. Indeed the mounting of the opera is quite as good as that of many plays which are heralded for months in advance as something extraordinary in respect of spectacular attire. It is simple justice to pay this tribute to the Metropolitan Opera House, whose Director, with the cordial support of the stockholders, is engaged in an arduous and most commendable undertaking. "Siegfried," not employing the chorus, gives no opportunity for the admirable management of masses which is conspicuous at this house in the presentation of "Lohengrin." "The Queen of Sheba," "Die Meistersinger," "Rienzi," "Tannh?user," and other operas. Neither is there any opportunity for brilliancy of scene painting. The first act takes place in a cave and the third among rocky mountain passes. Yet in all the scenes the details are made as effective as the circumstances permit. The Blacksmith's cave is a perfect piece of stage realism, and it is carried to completion by time flashing of the sparks from the anvil as Siegfried welds Nothung: again, in the third act, too the appearance of the goddess Erda is excellently contrived by a simple but effective use of lights, while the descent of the fire from the mountains calls into use the combined forces of red fire, calcium lights, steam and gauze drops, and the result is in every way commendable. Even so small a detail as the flash of light from Wotan's spear when Siegfried cleaves it is not forgotten. We have reserved mention of the second act till here because it is here that the most opportunities for scenic display are afforded. The forest is reproduced in a charming spirit. Its gloom and wildness are sufficiently indicated, while under the sunlight effect it had a delightful appearance. The cavern of Fafner is sufficiently foreboding in aspect, and the dragon himself, though ridiculous in action, is a clever piece of stage mechanism. His jaws gape ominously, his eyes burn with intermittent flame, his tail threshes the surrounding atmosphere, and he is altogether a commendably fierce and industrious beast. And when Siegfried stabs him he lies down comfortably and closes his eyes, as every dragon with flaming organs of vision should do in extremis, in accordance with Homer's famous death formula: "And falling he uttered a groan, and darkness covered his eyes." The forest rustling is excellently aided by an effect in lights by which the dancing shadows of the leaves are depleted on the rocks. The scene itself is an excellent piece of theatrical painting and its air of forest, seclusion does not a little to aid the audience is rightly apprehending the sprit of the lovely music of the act. The fact that the dragon causes many people to smile is not the fault of the man who made him but of Wagner himself. If we are wiling always to accept Wagner at his own estimate, we can by the aid of imagination perceive in the dragon a dreadful monster; but if we have no especial interest in Wagner's idea, the dragon is somewhat absurd. However, this is a matter of small importance in a work of such magnitude and great artistic value. It is probable that to many minds "Siegfried" will seem to be Wagner's best work. Certainly it has the notable merit of coherency. A distinct purpose is set forth in the beginning of the work, namely, the wresting of earthly empire from the hands of the gods by one of their own blood and the consummation of human power and happiness through the union of Siegfried and Br?nnhilde. To this end every incident in the drama moves with logical force. To be sure, some of the scenes are apparently longer than are necessary, but there were reasons for this. The questioning scene between Wotan and Mime gives a

Review 2:

Review or the incidents of the previous dramas and could not be omitted in a performance of "Siegfried" where the other works were unknown. The music grows in power and beauty throughout the opera and reaches its greatest height at the dramatic climax in the last act, where its grandeur is manifest to every mind. The performance at the Metropolitan Opera House is excellent. Herr Alvary's Siegfried is unquestionably the best work this tenor has done here. As we have before intimated a man of mere stalwart proportions would convey a better idea of Siegfried's power, but on the whole it would be difficult to find a more competent man for the title r?le. Herr Ferenczy's Mime is a capital piece of acting. He depicts the cunning and malice of the dwarf with great fidelity, and makes a most effective foil to the ingenious and noble hero. Herr Fischer's Wotan, as before said. is an impersonation of the breadth and virility, admirable both in acting and singing. Fr?ulein Brandt makes a conspicuous figure of the Goddess Erda and Frau Seidl-Kraus sings the bird music most agreeably. Herr Elmblad is sonorous and effective as Fafner. Lilli Lehmann has in this opera once more demonstrated her fitness to represent the heroines of Wagnerian opera. Her singing of the final duet with Herr Alvary will be memorable as one of the finest achievements of the musical season. Both she and Herr Alvary were loudly recalled at the close of the opera last night, and the behavior of the audience throughout the evening indicated that "Siegfried" had made a deep impression.



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