thumbnail of Hall of song: The 'Met,' 1883-1966; 1933 Through 1935
Transcript
Hide -
If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+
The following program was produced for national educational radio under a grant from the National Home Library Foundation by W. B U R Boston. Boston University radio presents Hall of song the story of the Metropolitan Opera from 1893 to 1966. You are the one. You're the one with. The world. Your posts are miles past indie music critic in the New York World. Journal Tribune. And noton cross.
The extend of the difficulties the Metropolitan faced during the Depression years is clearly indicated by something as simple and uncomplicated as the starting date of the 1933 season. You may recall that on its very first opening night in 1893 the Metropolitan Opera found itself in competition with two other events which were prominent on the social calendar of that era. The opening of the National Horse Show and the first night of Colonel James maples ans opera season at the old Academy of Music on 14th Street. That same problem arose on a number of other occasions in the early history of the Metropolitan and yet no one ever doubted the ability of the Opera Company at Broadway and 31st to draw in more than adequate audience. But in 1933 New York's interest in opera had diminished to the point where the Metropolitan management was afraid to run the risk of competition from the Christmas shopping rush. As a result the first night fell on December 26 the latest opening in the
whole history of the house. It was now painfully evident that when money was tight the public was quite ready to forgo opera in favor of a commodity they felt was more important. The critics of course suggested that this state of affairs might have been different had the commodity offered by the Metropolitan in the years just before the Depression been of higher quality. In any event the 1933 season started late and the daily its fourteen week run was the shortest. New York had seen in forty years what the season lost in duration however was amply compensated for by what it gained in quality as in the past year the Wagnerian repertory was in the forefront with Rita Leiter the company's leading dramatic soprano dominating almost every performance. It wasn't long though before she had to share the spotlight with other notable Wagnerian artists. The first of these was the basso Emanuel list who made his debut on the second night of
the season as the land grab in town has it on January 11 the new Basso sang home dig in Deval Curie the first act of that performance will long be remembered by all those who had the good fortune to hear it. Sigman was sung by Laurence Melky and Lottie Lehmann made her long awaited metropolitan debut. Lehmann was another of those artists who would have arrived much sooner had it not been for commitments to the Chicago Opera. When the performance was over critic WJ Anderson wrote it is no injustice to her predecessors as Sieglinde to assert that she must be placed in the foremost rank. There was a note of irony in this for anyone who was able to recall the comment made by this critic in 1907 and that year the soprano nanny Larson made a lamb of the appearance of Leonore in for Delio in the last days of huge audiences and large profits. Henderson frequently
chided the Metropolitan for its lack of initiative including new talent and improving its shabby production with a review of the Larsson codes and performance. He referred to a letter he had received from Richard Aldridge in Vienna describing Lehmann's Leonora as magnificent. Well observed Henderson we need none of her magnificence here. The dollars can be drawn without it. But in 1933 the dollars weren't being drawn and lot in laymen's magnificence was a truly welcome addition to the roster. Some of the outstanding events in her distinguished metropolitan career came to light as she spoke with the producer of our series Richard Calhoun Madame Lehmann. You began singing in America before you came to the Metropolitan Opera. I believe in Chicago. Chicago was my first engagement here at Ross in the year 1930 and then 1932. I had my first recycler in town hall. And I have those that the Metropolitan
to me. And of course you would been singing for many years even before coming out. Was there any particular reason for your delay in getting to the Metropolitan. No it was it just didn't engage me that parts of it. So then you finally did appear then in 1934 make sure your viewers Sigmond with Melky or of course unless you know you worked with for many years. Yes you know it was a kind of an anticlimax so to speak for me to come to the middle Politan because I was a colleague Smith with whom I sang there I had sang already or was a wood bird in all the festivals he met all of these in Covent Garden and Paris. So it was really not as something absolutely new to me and that came through too. Of course it is the girl in submission of every singer to be a member of the Metropolitan and I was very happy about it.
Did you find it easier having song with these people before you know to make the change in a new. Oh I didn't see this act I mean I I had just started to sing it. It's of you know open 916 and I started as a very young beginner at 1910 so I should have been you had all the experience you needed at that point yes. And then of course one of the highlights of the first season there was the revival of Rosenkavalier which of course was was and continued to be one of your most notable use of house trees and I don't remember that I have a very bad poem members for dates and I don't know when I sings emotionally and to me to the point that I've sung it of course very often and did for us all and so my last performance at the Metropolitan 1945 I think. You were a particular favorite to Strauss in the are of course also known as leader and spawn one can see every us a favor
that is a funny expression if one of the men their styles as I do because I was supposed to and I was an impersonal person he he liked me in his roads and he found that I was very much talented for his kind of music but personally I think of Star Sports very aloof person first not of men was to whom Brian Ross very near to one felt very media. You worked always in Europe operatic chords very carefully from a dramatic standpoint no not at all you're a mystic. I just they sang and I just acted. I didn't belong at all to source singers who think carefully out what they are doing. Never I always followed my intuition. I choose very carefully sourced parts which they are suited to me and it's a moment fend fêtes
they are suited to and I fell apart and lived apart and I think that is the main thing. Now usually roles that you performed in that you have ugh Marian operas were not of course the holders you know doing it with Ziggler and the most annoying and also Did you ever aspire to do anything like oh Brynhild. No but if you did you I sang Leonore. That was not at the Metropolitan saying that in Europe all over Google is that plus the limit of my time Arctic Power but no one has really normie in America as a sore chord for near you and soprano I always hated the art I hate to to be year you have phonetic kind of and been entertained us and stamp me fly. I have sung in Vienna at the big clipper to all your French and
you know us all to put cheese and and French I sing sing my NOR. And locked her in the after and I sang. I sing also Manolis cine Sue and Gili cappuccino. And two hundred which I never liked very much. Toss the garbage and I sing once at the Metropolitan and it was not successful. Tusk of course apart which I really didn't like very much. It is a kind of and sciatic affair which Tosca hits that kind of an orphan like lightning in my temple I'm in Farson was a different one. Was there any reason that your roles at the Metropolitan were largely limited to the German repertoire.
Oh you don't know that I have no idea. I sing Onward so in there in England although there is a German repertory I sing once a dusty mourner in Italian and I sing Bruce was born or voter Donna every year and on to a funny but generally it was the obvious one that me for the German born German and I think that it seemed we as German leader will always be the best in my career is a concert singer has been the big have been the best so I think it's understandable. Now of course you're mentioning Bruno Valter he was a great colleague of yours or one of ride of our search. What shall I seaborne Ovide of us my my greatest teacher. I have been in all them then ending legal aid for to Him for He gave me that I cannot see more than this that he
was my greatest teacher. I found that marvelous you know a lot of I'd have asked him in one didn't really need it and it is just Service him he he he talked about it's a psychological background of the role and that is what you really taught me in that they're smart I now would be try to teach to my to the few students which I take it doesn't matter if what kind of a gesture do you do or it doesn't matter at all how would you express externally what you want to express. Then you feel a role and live a role. Then if you really do the right thing. Rather early in your career you performed Rosenkavalier in London with Prideaux Hempel and although she was all I ever saw feet separates 1914 men got you know that saying first selfie instead of tower of young later on and then demand that the motion
same rationally and also for the first time in Covent Garden. But this year 940 invent as saying so few that cross it to room really in theatre. And I hear you he placed only replaced player docs who are sick and then visit called me worse. Do you have any recollections of Hempel oh yes or a very funny the collection of the early she had so Greenwald beside me and I had family bad habit so I hardly use her and her rule instead of mine don't go by I did set and she sent a woman around to music dressing woman around to me and said she asked me very much if I have to sing anything I sing by order. She was a very marvelous Marcelina basically. Well I think the two of you were considered among the most outstanding
interpreters of the port. Now I'm going out on so that I think you had a rather unfortunate experience happen. In your first season at the met with the performance of Lohengrin in which you left after the second act to prepare himself for a performance of all tour the next day was this typical of him. Oh. Nor was that wouldn't be. He was a very very serious artist I don't think so. That was a great exception. I have finally stopped at this with all of the director's cut because that's when I came got because that Scott Ross is Harvard Johnson and you know being I have no one being as a very young man and yet he was the secretary of my agent in Vienna. And he was a fairly handsome man very end some young men but I
disliked him very much because he seemed too arrogant and you know I can say is this really raised out any any. But hesitated because he obviously members is and he has very much to made it obvious and as you need remind me of that. Do you have any recollections of go to concerts. Oh I had only a shop and that's where I was as well as young as I was now you see and he was really a very elegant gentleman. I remember him mostly of his a very elegant Minette. And how he understood to talk to an artist at first or be something 138 so that he was deeply interested and that he burnt at the very best. Was there any noticeable change in the Metropolitan's policies after the transition from Khloe I don't think so I think Johnson Johnson and continued that he's kind of of friendship between him and
his seeing us very much. I like him very much and don't let me forget to mention Mr. Tito who was my very special friend and really quite wonderful a minute I keep him in my heart as long as I live. Well now of course for most of your years at the Metropolitan you were associated with some of the greatest names in German opera not just Wagner but of course trials and everything else must've been quite wonderful to be with these other hear personalities. Yes. Especially the cure as saying very many from now who exposed him and his seat mourned over something bitch. I don't think she'll ever be again on the stage and you know then I think of Zeke moaned that it's made Kyar I am quite sure so effin mad you're saying thinks of Sieglinde. He would see a lot of men very very very very good friends. And oh I remember freedom like you know she was so
wonderful and there flashed out of course. Liszt was a marvelous was a marvelous better by monarchs and Kipnis. Oh it was sweet in Charles Holland don't let's forget shark got ever never forgets his beautiful voice many saying we do have to doctor for it. Oh Mr. Singh It was wonderful I always listened to him behind the stage. And he said there are people whom I always hit sung with in London in Paris everywhere. Mario it ships guy well you know it ships guy is living in Vienna and when I come to Vienna as he is always the very first to my God and I saw it last summer I saw fleet alight I visited Bellina after many many years and she lives in Belize and I had to really wonder for days.
Well now you've gone back in recent years and I guess two years ago to supervise the production of the new production of Rosenkavalier Yeah it is but unfortunately it wasn't a new production you see it was really it for its own use a Marshall in forcing you into and I think our countdown was new. In any case I couldn't really do what I wanted absolutely there were few rehearsal and you know it is a great difference to work for somebody who sings a part for the first time over somebody you were saying it already hundred times and has her own conception and it would be terribly wrong if I would tried to change such a concept because these are artists who are artists who are arrived to have and have a standard and I could only give some suggestions and then arguments into plaudit me
very much. When I came before the curtain I knew very very that this was not a stage director who was it a priority. And it for us as a singer who was in a bend that fairly graciously. Well most of been a great satisfaction to you and must still be to be able to continue your career in this way. Oh yes also the I cannot understand that artists who stop singing and then say stop entirely too to do something artistic. I have been a creative person in my life and the sites my teaching. I do a lot of things I paint and do and I write it so it's never a dull moment in my life. Next meant to be 78 but I feel yet as if I very much belong to life not in laymen's fine interpretation of the
Martian's aria from the first act of the Rosen cavalier demonstrate something more than her accomplished vocal artistry. The last line is in a way a statement about a lay man's attitude toward life itself. The Martian looks in the mirror realizes she is growing old and says it is all a mystery so deep a mystery and one is here to endure it. And in the hall there lies the difference. The news.
And. Read.
Good.
In the 1934 season the one following Lata Lehmann's debut another
Wagnerian artist of the first rank began her metropolitan career as Sieglinde indeed Alkatiri according to attendance in the first act of that performance began in a calm and ended in the storm of applause. That storm was unleashed by the great Kirsten flagstone. It was a little a was it. Was it
was. Oh. Oh yeah it was a was good God was it. Why Houston flags Staats debut was the outstanding artistic event of
the 1934 season. An announcement from the executive offices was the major item of operatic news for the year. When he returned from Europe in November Julio got to inform the press that this would be his final season as general manager. After 27 years the Metropolitan lost to have a new impresario on our program next week. Helen Jepson will be here to tell us all about the many difficulties which had to be settled during this transitional period. We'll also learn about what I'm Jepson his own metropolitan career which began in that 1934 season. For now this is Milton Cross on behalf of Myles custody inviting you to join us again then. Were. Wrong.
Wrong. Wrong. Wrong. Wrong. Wrong. Boston University Radio has presented Hall of song the story of the Metropolitan Opera from eighteen eighty three to nine hundred sixty six. The series is created and produced by Richard Calhoun a grant from the National Home Library Foundation has made possible the production of these programs for national educational radio. This is the national educational radio network.
Please note: This content is only available at GBH and the Library of Congress, either due to copyright restrictions or because this content has not yet been reviewed for copyright or privacy issues. For information about on location research, click here.
Series
Hall of song: The 'Met,' 1883-1966
Episode
1933 Through 1935
Producing Organization
WBUR (Radio station : Boston, Mass.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-n8730c8j
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-n8730c8j).
Description
Episode Description
1933 -1935. Lotte Lehmann makes her long-awaited debut. She is interviewed about her career and describes her association with Lauritz Melchior, Maria Olszewaka, Richard Strauss, and Bruno Walter.
Series Description
Documentary series on history of the Metropolitan Opera Company ("The Met") in its original home at Broadway and 39th Street in New York. "The Met" closed its old location on April 16, 1966. Series includes interviews and rare recordings of noted performers.
Broadcast Date
1967-01-27
Topics
Performing Arts
History
Media type
Sound
Duration
00:28:44
Credits
Host: Cross, Milton, 1897-1975
Host: Kastendieck, Miles
Interviewee: Lehmann, Lotte
Producer: Calhoun, Richard
Producing Organization: WBUR (Radio station : Boston, Mass.)
AAPB Contributor Holdings
University of Maryland
Identifier: 66-41-22 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:28:38
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Hall of song: The 'Met,' 1883-1966; 1933 Through 1935,” 1967-01-27, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 29, 2024, http://americanarchive.org/catalog/cpb-aacip-500-n8730c8j.
MLA: “Hall of song: The 'Met,' 1883-1966; 1933 Through 1935.” 1967-01-27. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 29, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-n8730c8j>.
APA: Hall of song: The 'Met,' 1883-1966; 1933 Through 1935. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-n8730c8j