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It was Richard Wagner's afternoon yesterday at the Metropolitan Opera House and, incidentally, that of Artur Bodanzky, Curt Taucher, Michael Bohnen and the others concerned in "Die Meistersinger," which brought the company's special Wagner cycle to a distinctly triumphant close. "Die Meistersinger" is four hours and twenty-two minutes long, and is apt to be followed by a swift melting away of those still cherishing hopes of getting home in time for dinner. But yesterday's large numbers lingered, forgetting that 6 o'clock was imminent, and demanded recall after recall, the applause reaching a fortissimo when Artur Bodanzky, whose conducting has played a large part in the success of the cycle, mounted the platform with the singers.

Curt Taucher, the tenor who fell headlong through a trap two weeks ago in "Siegfried," and lived not only to tell the tale but to take part in the final scene, which began eighty-eight measures further on, made his first appearance since his narrow escape in yesterday's performance. Devotion to Wagner overruled those wishing to stage a public welcome as the curtain rose, but he appeared in numerous curtain calls at the end of the first act and afterward. A bandaged finger still gave evidence of his mishap, but not his voice, which, it seemed, had gained notable in strength and clearness of tone during his enforced rest.

Token From Colleagues

The welcome extended the returning tenor by his colleagues was tangibly expressed by a silver box marked with his initials and also engraved with the signatures of Michael Bohnen, Nanny Larsen-Todsen, Artur Bodanzky, Maria M?ller, Wilhelm von Wymental, Clarence Whitehill, Max Bloch, George Meader, Karin Branzell, Paul Eisler, Gustav Sch?tzendorf, Elisabeth Rethberg, Kathleen Howard, Dr. Karl Reidel and Samuel Thewman. It was also learned yesterday that the stage hands of the Metropolitan had wished to make Mr. Taucher an honorary member of their union, had the rules permitted.

A dominating figure of the performance was Mr. Bohnen as Hans Sachs, lusty in voice and striking in action. He gave an unusually dramatic savor to Sachs's discourse on German art in the last scene, and his appearance before the curtain brought a marked crescendo in the applause. Maria M?ller was, as before, an Eva of notable charm, with Kathleen Howard as Magdalena, Mr. Meader as David, Mr. Rothier as Pogner and familiar figures in other parts.

Inserted in the programs was the following appreciation by General Manager Gatti-Casazza: "It has been with great interest and deep pleasure that I have received the many letters and messages of approval for having offered to the subscribers the Wagner Cycle which closes with today's performance of "Die Meistersinger." May I take this opportunity to acknowledge them with my sincere thanks."

Appreciation Gratifying

"The record attendance, the profound attention and enthusiastic applause displayed at each performance, and the praise by the music critics have fully compensated the artists and the management for their efforts, and have made this 'Wagner Cycle' memorable in the record of the present season of Metropolitan Opera."

Search by season: 1924-25

Search by title: Die Meistersinger von N?rnberg,

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