[Met Performance] CID:6520



Siegfried
Metropolitan Opera House, Wed, February 1, 1888




Siegfried (9)
Richard Wagner | Richard Wagner
Siegfried
Max Alvary

Br?nnhilde
Lilli Lehmann

Wanderer
Emil Fischer

Erda
Marianne Brandt

Mime
Otto Kemlitz

Alberich
Rudolph Von Milde

Fafner
Johannes Elmblad

Forest Bird
Auguste Seidl-Kraus


Conductor
Anton Seidl







Review 1:

Review in The New York Times

METROPOLITAN OPER& HOUSE.

The second music drama of the Nibelungen trilogy, "Siegfried," was performed at the Metropolitan Opera House last evening before one of the largest audiences of the season. It is not too much to say that "Siegfried" has not received so fine an interpretation before in this city. The honors of the evening belonged fairly to Herr Alvary, who as the young hero has to carry the burden of the drama on his manly shoulders. He was in most buoyant spirits last night. He was redolent with the freshness and enthusiasm of youth, and presented a fine aspect of manly vigor and bravery. There was a wealth of vivacity in his acting which was wholly in keeping with the spirit of the part and made his impersonation a most picturesque thing to look upon. He was in excellent voice and sang the music with an abundance of good and strong tone. This assumption of Herr Alvary's is undoubtedly the best thing he has given the New York public, and it will be remembered as one of the most delightful figures of an interesting series of performances. Herr Kemlitz cannot act Mime nearly as well as Herr Ferenczy, who is still sick, but his performance has in it much that is commendable. He sings the music with a good deal of uncertainty of intonation, but with much significance. Herr Fischer's Wotan is a most dignified and impressive piece of work. He was in good form last night, and his work added very largely to the effectiveness of the presentation. Herr Elmblad is more satisfactory in Fafner than in any other role for which he has been cast since his arrival here. He was not deficient in volume of tone, and where the score calls for the dragon to bellow he was not found wanting. His combat with Siegfried was quite as amusing as it generally is, and he died with appropriate music and steam. There is still the usual amount of comedy in the dragon scene, but the habitu?s of the opera now understand that it is not unintentional and enjoy it accordingly. Herr Von Milde discharged his duties in the small part of Alberich with commendable zeal. Fr?ulein Brandt was the Erda as heretofore, and she sang the music with good judgment. Lastly must be mentioned once more Fr?ulein Lehmann's impersonation of Br?nnhilde. The Valkyr maiden is not long on the stage in "Siegfried," but when she appears it is like a sunburst. She irradiates the last scene and fills it with the glory of love. Fr?ulein Lehmann's conception of this r?le in each of the dramas of the trilogy is just and her execution certain. She repeated last evening her superb work, and with Herr Alvary brought the evening to a triumphant close. Thus far the trilogy performances have been notable for earnestness and spirit.



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