[Met Performance] CID:95320



The Bartered Bride
Metropolitan Opera House, Mon, February 7, 1927

Debut : Ruth Page


In German



The Bartered Bride (31)
Bed?ich Smetana | Karel Sabina
Marenka
Maria M?ller

Jen?k
Rudolf Laubenthal

Vasek
George Meader

Kecal
Michael Bohnen

Ludmila
Marion Telva

Krusina
George Cehanovsky

H?ta
Henriette Wakefield

Tobias
James Wolfe

Circus Barker
Max Bloch

Esmeralda
Louise Hunter

Red Indian
Arnold Gabor

Dance
Ruth Page [Debut]

Dance
Muriel Halliday

Dance
Giuseppe Bonfiglio


Conductor
Artur Bodanzky


Director
Wilhelm Von Wymetal

Set Designer
Joseph Novak

Choreographer
August Berger

Choreographer
Ottokar Bartik





Translation by Max Kalbeck
The opera was listed in company programs as Die Verkaufte Braut. The Overture was played preceding the second act of the opera.
The Bartered Briade received three performances this season.

Review 1:

Review in the New York Post

'The Bartered Bride' at the Metropolitan

Smetana's delightful peasant-opera "The Bartered Bride" was given a spirited and charming performance at the Metropolitan last evening, its first of the current season. The subscribers had their fill of colorful and tasteful settings, ballets, comedy, and lilting, light-hearted music.

Michael Bohnen's Kezal was as fine a piece of comic acting as one could ask to see and the best possible evidence of the extraordinary versatility of a fine artist. Opera goers are forced ordinarily to be satisfied with far inferior work in such parts; it is meant as a high compliment to Mr. Bohnen, when one says that his performance recalled De Luca at his best. The remaining roles were for the most part in capable hands. Marion Telva singing Ludmila, Maria M?ller, Marenka, George Meader, the half wit Wenzel - but for an occasional bit of overacting the role was admirably performed and especially well sung - and Rudolf Laubenthal, Hans.

Mr. Laubenthal is large and handsome and chesty enough for the heroic part, but there were times last evening when one wished to go across the street until he had finished singing. Some of his upper tones were about as musical as the shriek of a fire engine siren, and there were other moments when he sang off key. Two of his duets with Marenka were really quite distressing.

Ruth Page, an American dancer, made her debut and found a warm reception awaiting her, which she heartily deserved. The ballets gave her an excellent opportunity for the display of her skill, and it is safe to forecast that she will become a popular favorite. She was especially delightful in the first act polka, which she danced with Bonfiglio. Artur Bodanzky conducted and contributed notably to the spirit that made the performance notable. The renowned overture was played before the second act and was applauded almost as much as if the regular claque had been present.



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