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When Richard Strauss set out to compose a comic opera with waltzes in it, he admitted he intended to write some which would outrival those of his unrelated namesake, Johann Straus. Richard did not, however, even come near to equaling Johann, although he wrote several attractive and lilting melodies in three quarter time and even achieved some of the soft and sensuous harmonies recognized as typical of Viennese school of composition in light opera.

His "Rosenkavalier" revised last night at the Metropolitan in a splendidly sung revival, offered a wealth of subtle and brilliant orchestration which Johann Strauss never could have duplicated. This opera by Richard is a glittering gem of symphonic tomfoolery; the antics of a truly marvelous musical talent in a light-some and sportive mood.

Wagner was so minded when he wrote has "Meistersinger,'" but it turned out to be more massive than mischievous. "Rosenkavalier" keeps its merry, gaily satirical spirit throughout. It is a grand comic opera, with much lovely music and some affecting sentiment, especially in the measures of the amorous Princess, who realizes the unromantic inroads of advancing age.

Florence Easton, who did the Princess, put sincere acting into her portrayal and sang with a lyrical warmth deeply convincing. Michael Bohnen, in the buffoon role of Baron Ochs, turned out to be a master of drollery. He made the absurd machinations of that fat and ribald old rake a series of Hogarthian caricatures.

Maria Mueller, as Octavian, the page, presented a fine figure as a comely youth and sang with, charm and finish. Editha Fleischer the sentimental Sophie, delivered and enunciated her measures in most polished fashion. Gustav Sch?tzendorf was another pillar of fun as Faninal. Some of the other roles handled exceptionally well were in the hands of Marcella R?seler, James Wolfe, Angelo Bada, William Gustafson, George Meader, and Minnie Egener. The conducting was of the best done by Artur Bodanzky.

Search by season: 1926-27

Search by title: Der Rosenkavalier,

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