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The afternoon of the New York "Wagner Festspiele" continued with a performance of "Rheingold" which inaugurated that of the entire "Nibelungen Ring" in this series. Bodanzky's broad and noble conception of the work and the individual excellence of the artists forming a notable cast aroused the enthusiasm of an audience which filled every nook and cranny of the Metropolitan. Noticeable in the throng were many youngsters of an age which means a probable first glimpse of the Wagner world and a surprising number of men. One busy lawyer of my acquaintance remarked upon the latter as we left the theatre, with the comment that he was amazed to find so many men of affairs who came uptown during the day present at a matinee performance.

Mme. Larsen-Todsen, a noble and appealing Fricka: Maria M?ller, a young and radiant Freia; Michael Bohnen, a powerful Wotan, traditionally incorrect but imaginatively effective in his makeup; Walter Kirchhoff, a finely characterized Loge; Gustav Sch?tzendorf, a most impressive Alberich; and Edita Fleischer, Phradie Wells and Marion Telva as a vocally admirable trio of Rhine maidens are well known to New York Wagner lovers. Branzell's Erda has a voice not easily equaled on the operatic stage today.

Whether by accident or design, the prismatic bridge upon which the gods are to ascend to Walhalla was most effectively atmospheric yesterday through the loss of the glaring color and definite outline which in former productions have robbed this final picture of its potential impressiveness. Once more the Metropolitan can be congratulated upon its Wagner productions.

Search by season: 1926-27

Search by title: Das Rheingold, Ring Cycle [48],

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