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To see and hear Mme. Jeritza in one of her more "fortunate" roles as heroine of this season's first "Tannh?user" proved an event of interest alike to society and the multitude at the Metropolitan last evening. The house assembled for an early start, a full quarter before the usual hour of opera, and a large proportion remained at 11:15 for the melodious close of what is still the most vital music of Wagner's youthful prime.

The prima donna's air of "Greeting to the Hall" in Act 2 was followed by applause that momentarily drowned the orchestra. She sang, as she can indeed sing, with care for the finished phrase and a control of tone no longer prompted by the torments of Turandot or the rage of Violanta. In Elizabeth's white robes her statuesque form, in constant motion, took on ever-changing softened contours, like Tanagra figures of classic art. Save for Richard Mayr as a new and competent Landgrave, the cast was one of familiar stars, even Miss Telva as Venus having on one or more occasions in recent seasons assumed the part of the siren goddess. The American contralto, though she sang her love notes too shrilly at times, managed at crucial moments to subdue her voluminous voice to a caress.

Mr. Laubenthal was too often plaintive as the hesitating hero, while Mr. Whitehill brought back much of the poetic quality in Wolfram's last 2-act song to the "Evening Star." Miss Fleischer sang the shepherd's tune, Messrs. Meader, Gabor, Bloch and Wolfe the parts of the singing knights of the Wartburg. Mr. Bodanzky conducted a notable overture and bacchanale, with the opera's unvocal first half-hour well reinforced by the Misses Ogden, Rogge, Glover and the ballet. After all, "Tannh?user" has outlived the riots of the Paris Jockey Club and the critical jeremiads of the English Chorley. It took its old place here as one of the tuneful spectacles of favorite music drama's spacious stage.

Search by season: 1927-28

Search by title: Tannh?user,

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