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The second night of the German opera season in Brooklyn was devoted to "The Walkyries," the second work in the Niebelung ring, and one that outranks in force and portent the initial work of the Trilogy. Because of the prolonged and needless dialogue, especially because of the questions and soliloquies of Wotan, the action is slow, and there are extended scenes that have no action at all; but the effect of the whole, the tragic tendency of the drama, the cumulative power of the orchestra in the unfolding of every incident, the tremendous effects in the battle among the rocks and clouds, in the ride of the Walkyries, who come charging through the air that palpitates with storm, shrill their wild halloo; in the rising of the fire as Wotan strikes the rock and summons Loki, and in the significant close of the play, where the stage is occupied only by the sleeping form of Brunnhilde, with flames and steam rolling about her and the lovely slumber motive sounding through the snapping, flickering music of the fire - the effect of this whole is of a colossal entity informed with the beauty of art. The presentation of the opera last night was, in its essentials, as satisfying as that in the Metropolitan Opera House in minor concerns only was there a falling off in merit or propriety, as, for example, in the first act, where Hunding's cabin had a wainscot and other evidences of modernness. The magic lantern exhibition that represents the ride of the Walkyries and the pursuit of Wotan was omitted, the war maidens coming down from the rocks as if they had just alighted, and the stereopticon effect being but a poor sort of scenic makeshift that usually caused more laughter than admiration the performance was better without it. Herr Fischer was stately and grandiose as the god Wotan. Paul Kalisch was assigned to the part of Siegmund, a character that he has not the heroic attitude to fill and that he treats with such deep respect that he does not form a very close relation with him. His voice is good except in the lower register, where it becomes rather weak and hollow, his love making is singularly chaste and harmless, and he has a curious difficulty in gesturing, the slightest swing of the arm seeming to call for a remarkable effort of the will. In the fight with Hunding, the fencing was almost ridiculous. Hunding, as embodied in Eugene Weiss, was not vocally great, but he was a magnificent savage in his aspect. Lilli Lehmann was the favorite of the audience, and the "continuous melody" was several times interrupted by applause. Her singing, strong, clear, expressive, her intelligent acting and her fine appearance as the Walkyrie Brunnhilde justified those little outbreaks. Felice Kaschoska made a charming and sympathetic Sieglinde and sang her numbers with a kind of pathos that was a recognition of the stern fate that moves through all the Niebelung works. Louise Meislinger appeared briefly and innocuously as Fricka. The Walkyries were personated by Sophie Traubmann, Hedwig Reil, Frau Sedlmayer, Ida Klein, Frauen Egener and Goettich, Fraulinen Hartmann and Miron. Alton Seidl educed from the big orchestra its vital and epic consequences. At the Amphion this evening the company will give "Siegfried" and the Niebelung ring will be finished with " The Dusk of the Gods" tomorrow night.

Search by season: 1888-89

Search by title: Die Walk?re, Ring Cycle [9],

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