The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1936-02-03
Many Travel
to Cincinnati
TO See Opera
Tristan and Isolde Scores
Hit Among Local
Enthusiasts.
BY JAMES THRASHER

After listening to a performance
of Wagner's Tristan and Isolde"
one regrets that this rich musical
experience so seldom is granted to
us in the hinterlands. The proxim-
ity of its production by the Cincin-
natl Symphony Orchestra in Cincin-
natl on Friday and Saturday nights
induced many indianapolis opera
enthusiasts to brave the week ends
cold weather, and those attending
were rewarded by satisfying pres
entation.
Many scholarly volumes have aid
ed Wagner's music in convincing
listeners that Tristan" is it's COM
poSer's greatest work. Here is the
pinnacle of a career of genius, a
music-drama of heroic proportions
and heroic difficulties. AS a tonal
delineation of the passion of love,
its supremacy remains unquestioned
after mo~e than 10 years.
Dorotl ne Manski, rather than the
announced Gertrude Kappel, was
the Isolde of the Cincinnati produc-
ton. Her Interpretation was for the
most part authoritative, and her
voice grew in richness and beauty
as the evening progressed. The role
is a taxing one, and to sing it on
successive nights is something of a
feat.
Voice at Best in Act III
If, then, she showed signs of vocal
strain during the first act, it is no
cause for wonder. Not until the end
of Act II was the full loneliness of
her voice revealed in moments of
truly gorgeous singing. The conflict
between the length of the opera and
a relentless train schedule prevented
our hearing the "Liebestod" in the
final act.
The Tristan of Paul Althouse was
of rather uneven quality. AS the
delirious, mortally wounded knight,
he was admirable, but the knowingly
dramatic portions OF his perform
ance were offset by a good deal of
inadequate singing and acting in the
earlier parts. We scarcely can ex-
pect in one person an ideal persona
f1cation of either Tristan or Isolde,
but we still may complain against
the histrionic laxity which taints
many "a vocally adequate operate
production.
Supporting Cast Excellent
The lesser roles of Brangaene,
Kurwenal ard King Mark were ex-
cellently handled by Kathryn Meisle,
Fred Patton and Chase Baromeo.
Mr.. Patton, the Wotan of the or
chestra's production Of die Wal
kuere," again distinguished himself
while Mr.. Baromeo was in splendid
voice for his part as the great
hearted Cornish monarch.
We may pass over charitably the
settings, which were ill-conceived
and badly executed, to come to the
orchestra. Though mentioned last,
it is of course the dominating char
acter" in Tristan" Eugene Coos
sens, the conductor, was at all times
master of the score and his players.
In the superb music of the third
act, one of the most brilliant "tours
de force" in all orchestral literature,
he created a plastic, closely knit
performance, wrought with care yet
wildly pictorial.
Tristan and Isolde" again
stamped Mr.. Goossens as a sensitive
and highly capable musician. The
tremendous ovation accorded him
upon his reluctant appearance be-
fore the curtain at the end of Act
II clearly indicated that to the audi
ence he was the hero Of the evening.
and with this opinion we most
heartily agree.