[Met Performance] CID:101480



Jonny Spielt Auf
Metropolitan Opera House, Fri, February 15, 1929




Jonny Spielt Auf (4)
Ernst Krenek | Ernst Krenek
Jonny
Michael Bohnen

Anita
Dorothee Manski

Max
Walter Kirchhoff

Yvonne
Editha Fleischer

Daniello
Friedrich Schorr

Impresario
Arnold Gabor

Hotel Manager
George Meader

Policeman
Marek Windheim

Policeman
George Cehanovsky

Policeman
William Gustafson

Railway Announcer
Max Bloch


Conductor
Artur Bodanzky







Review 1:

Review in the New York World

'JONNY SPIELT AUF'

The spirited performance of "Jonny Spielt Auf" at the Metropolitan last night was given before a packed house that showed every sign of enjoying itself thoroughly at the bizarre goings on. Everybody concerned with the presentation seemed to be in the right mood to put the opera across in the burlesque style which those in charge of the production saw fit to adopt for the work. Orchestra and cast combined their efforts zealously to give a good show, and a smooth and vivacious interpretation resulted.

There was one change in personnel, Dorothee Manski making her first appearance in the role of Anita previously assumed by Mme. Easton. If Miss Manski's singing of the part was not up to the level of her predecessor, she gave a far more plausible and vivid interpretation of the impressionable and adventurous heroine. She possessed the abandon and animation needed, and sported costumes befittingly natty and swagger, which were worn with a jaunty air. She moved about the stage with the up-to-the-minute stride of a modish flapper. A worldly Anita this, and one likely to be beset by the numerous suitors provided for her by the librettist.

Mr. Bohnen, in decidedly better voice than at his earlier appearances of the week, romped about Germanically, as Jonny, to the evident delight of the audience, which chortled with glee every time he spoke a word of English. Miss Fleischer was again the type of soubrette servant-maid never seen anywhere in the world except in French operettas. She, like the rest of the participants, was in the best of form. That Krenck undoubtedly intended his opera to be taken seriously and that, by reducing it to farce it loses every bit of its point, was brought home more positively than ever by last evening's antics



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