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The success of any presentation of "Rosenkavalier" depends to a considerable extent on the impersonation of one of the convincingly realized figures in the whole operatic literature, the Marschallin. The news of Mme. Lehmann's indisposition which prevented her from appearing in this part for which she was originally scheduled, and the substitution of Mme. Hussa to the part for which Mme. Lehmann has long been justly famous, must have aroused some misgivings in those to whom the Viennese soprano was completely unknown. This writer, however, although he had not heard her in this role previously, was familiar with her work at the Berlin State Opera, when she was one of the leading members some years ago, and knew that she was a singer of more than ordinary abilities.

It was immediately apparent that Mme. Hussa's delineation of the no longer young wife of the field marshal, who knows that her love affair with the seventeen-year old Octavian is her last one and that with it she must bid farewell to youth and all its delights, was worthy of the highest admiration and ranks with those of Frieda Hempel and Mme. Lehmann, the two hitherto finest exponents known here of this exacting part.

Mme. Hussa is a highly accomplished actress who has perfected every detail of her characterization, so that it brings consistent conviction. In her scenes of passionate love-making with Octavian she is the mature , understanding woman thoroughly cognizant of what she has to bestow and what she is receiving. She has the innate dignity of the born patrician in her episodes with her entourage and with the burly Baron Ochs, and her enactment of the finale of the first act was profoundly moving in its suggestion of hopeless despair at the ineluctable inroads of approaching age. And in addition, Mme. Hussa presents a plausible figure to gaze upon - slender, neither too young nor too old, always graceful and poised in action.

Although Mme Hussa sang the part of the Marschallin last week in Chicago, she had never had the opportunity to test the acoustics of the Metropolitan, and assumed the part here with only a piano rehearsal. Under the circumstances her portrayal from the purely vocal aspect was hardly less telling than her dramatic envisagement therefore. Her voice is rather light in weight, so that some of the rapid conversational passages of the first act were submerged in the orchestral melos. But in the sustained portions, the Monologue and "Die Zeit sie ist ein sonderbar Ding," the emotional warmth and the profound understanding of the message of both poet and composer were happily blended.

Miss Steber made an unusually favorable impression, for so young and inexperienced a singer. She is personable and revealed an unmistakable flair for the stage. She encompassed the soaring phrases of the Duet of Rose with ease and imbued them with the appropriate glowing transparency of texture. There were moments in the later, impassioned duet with Octavian when she could not be heard. But she will undoubtedly learn in time how to project her tones in large spaces.

Several other important and smaller parts were newly cast. Mr. Olitzki as Faninal brought to the part the essential fussiness and choleric touch, and Thelma Votipka's fresh voice was good to hear in the part of the duenna Marianna. Space limitations do not permit a fuller discussion of the more familiar delineations. Miss Stevens was vocally well-disposed and endowed her part with brimming exuberance. Mr. List's assumption of the role of the lecherous, conceited and fatuous Baron Ochs was highly effective, and Doris Doe contributed an amusing, well-sung bit as the intriguante, Annina. Mr. Leindsorf conducted with exceptional vitality, employing brisk pacing and contributing much to the pleasure of the occasion. The huge audience responded enthusiastically.

Photograph of Eleanor Steber as Sophie by De Bellis

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