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Updated: May 7, 2025
The house, of course, was packed, and included many old admirers who had heard him abroad, and who, of course, received him with a volley of applause when he staggered into Hunding's hut. But Niemann did not acknowledge this applause with a bow or even a smile. He appeared before the public as Siegmund, and not as Herr Niemann.
From Hanover also I expected an immediate remittance, and could not understand the delay, when I heard that Niemann, after having heard Tichatschek in "Rienzi", did not feel competent to sustain the part with equal voice-power. Therefore it was given up. Breslau alone is sufficiently bold, and will venture upon it.
This class of opera-goers never tire of abusing such singers as Fräulein Brandt and Herr Niemann because their voices are no longer as mellow as in their youth, and sometimes weaken in a sustained note or swerve for a second from the pitch.
The roles of Tristan and Isolde were in the hands of Ludwig Schnorr von Carolsfeld and his wife. Albert Niemann was prevented by the failure of the Strasburg plan from being the first representative of the hero, but to him fell the honor of setting the model for all American representations.
He regretted subsequently that he did not ask Niemann to create the rôle of Siegfried in the last drama of the Tetralogy, as well as that of Siegmund in the second. Thanks to this mistake, New Yorkers had the privilege of hearing Niemann's début in this rôle at the age of fifty-seven, an age when most tenors have retired on their pensions.
The cast was as follows: Isolde, Lilli Lehmann; Brangane, Marianne Brandt; Tristan, Albert Niemann; Kurwenal, Adolf Robinson; Konig Marke, Emil Fischer; Melot, Rudolph von Milde; ein Hirt, Otto Kemlitz; ein Steuermann, Emil Saenger; ein Seemann, Max Alvary. Two circumstances bid us look a little carefully into the instrumental prelude with which Wagner has prefaced his drama.
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