Guide
Key Word Search
Multi-Field Search
Browse
Met Opera on Demand
Sirius and XM
Repertory Report
Performers Report
Contacts
Met Opera Website
Tristan und Isolde
Metropolitan Opera House, Mon, February 12, 1934
Tristan und Isolde (219)
Richard Wagner | Richard Wagner
- Tristan
- Lauritz Melchior
- Isolde
- Frida Leider
- Kurwenal
- Friedrich Schorr
- Brang?ne
- Maria Olszewska
- KIng Marke
- Ludwig Hofmann
- Melot
- Arnold Gabor
- Sailor's Voice/Shepherd
- Hans Clemens
- Steersman
- James Wolfe
- Conductor
- Artur Bodanzky
Review 1:
Review of Oscar Thompson in the February 25, 1934 issue of Musical America
Olszewska Returns to 'Tristan' Cast
With the return of Maria Olszewska to the role of Brang?ne, in which she made her Metropolitan debut a year ago, "Tristan and Isolde" on the evening of Feb. 12 possessed intact the superb cast that kindled new enthusiasms in the breasts of the Wagnerians last season. Frida Leider, as Isolde, and Mme. Olszewska as her maid, again contrived to give intensity to the drama from the outset and both were scrupulous in their treatment of Wagner's melodic line. As in past performances, Mme. Olszewska was engrossingly pictorial. Though inclined at times to an excess of pose and gesture, she was always vivid and vital, whether in action or in song. Mme. Leider obviously was tired by the time the Liebestod was reached with the result that the splendors of the apotheosis were chiefly orchestral, but the dignity and nobility of her characterization and her singing were such as again to place her in the front rank of contemporary Isoldes.
The Tristan of Lauritz Melchior was one of his most satisfying achievements, his voice flashing like a rapier in moments of stress and meeting the heroic exactions of the role with little suggestion of the forcing common to most embodiments of the part. The imposing King Mark of Ludwig Hofmann, the sonorous Kurvenal of Friedrich Schorr, and the competent Melot of Arnold Gabor all contributed to an exceptional ensemble. A word should be said also for the admirable singing of the backstage song of the sailor by Hans Clemens. There is still room for improvement in the handling of details of the action in the final scene, where the fight in which Kurvenal is slain remains absurd. Mr. Bodanzky's orchestra had its inequalities and there were times when the tempi lacked breadth, but it was, all in all, a superior performance.
Search by season: 1933-34
Search by title: Tristan und Isolde,
Met careers