New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-02-23
Big Audience Hears
Metropolitan Give
"GOtterdammerung''
Carl Braun'S Hagen a Creation
Barber of Seville" Played
in Evening

One of the largest audiences that
ever attended a Wagner performance
was present at the conclusion Of the
Ring Cycle yesterday afternoon at tho
Metropolitan Opera House. II was the
seasons first "Gotterdammerung,"
and, as things go to-day. an excellent
one. As for Mr.. Bodanzky's part and
for the chorus, it was a performance
which would have been excellent even
in the palmy days Of .Wagnerian
music drama. Mr.. Bodanzky's reading
of the score was smooth, yet filed
with color, forceful yet distinguished.
Under Mr.. Bedanzky's baton we listen
10 the spell Of the poet, rendered thrice
admirable.
Of the singers one figure alone really
stood out, though Nine. ODER was mod
erately effective as Waltraute and
Mines. Sparkes, Curtis and Howard en-
phasized the point that there is no
particular reason why the Rhine should
be exclusively German. But Carl
Brauns Hagen is creation which it
will be difficult TO equal. Il is power
full. sinister, all permeating, both vo-
cally and histrionIcally. For it we can
forgive Mr.. Braun for many vocal sins.
II Mr.. Urlus possessed greater tenn
permanent and would keep his fine voice
out Of his throat his SIegfried would
be Of more heroic stature. Nine. Kurt
possesses one Of the finest natural
voices now on the operate stage, but
her use Of il is sometimes deplorable.
Such was the case yesterday, while her
impersonation Of Brunnhilde was far
from inspired. There was new Gu
trune in Miss Marie Sundellus, who,
despite an evident newness 20 the part,
sang the music very well indeed
Scenically the production was what II
always has been OF recent years-of
illusion there was none.
In the evening Wagner gave place b
Rossini. and another seasons first per-
Torrance took place with THE Barber
OF Seville" Laugh as We may at GER
tain conventions of Italian opera, such
works as "The Barber are yet as
toundingly fresh and vital. OF course,
they must be sung IN the style Tor
which they we're written and bel cGntO
singers are not met with al the turn
of each corner. Luckily, the Netropoli-
tan still contains three or four such,
and two Of them, and 10 a more limited
extent a third, sang the Rosslni music
last night. Mr. De Luca made his debut
as Figaro Of The Barber" and this
season he has sung that Of THE Mar
riage OF Figaro" lie is more effective
in the Rossini works because the music
lies more perfectly in his voice and the
comic dominance OF the character is
more pronounced. His Figaro here is a
volatile. humorous and incisive crea-
ton. altogether one of the best things
the Metropolitan has seen OF recent
years. Nine. Barrientos has in Rosina
a part peculiarly fitted TO her person
ality. She expresses exqulsitely its
vivacity. its harshness. its humor, and
she sings il with rare lightness and
finish. Mr. Carpi will never be one Of
the great Almavivas, for his voice
neither in tone nor quality is one Of a
high order, but he sings with taste,
suavity and polish. The Basilio of Mr..
Segurola, and the Bartolo Of Mr.. Mala-
tesla are both composed on the tradi-
ton Of Italian opera bufd. Mr.. Papi
conducted with sympathy. IL was, all
in all, a spirited performance.