Word: mmerungs
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Dates: during 1930-1939
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...autobiography that once "my courage failed me completely, for I could not help asking myself whether the singer had yet been born who was capable of vitalizing this heroic female figure."* The stiffest test in all grand opera is the Brünnhilde of Götterdämmerung. That rôle made big news in Manhattan last week when it was sung for the first time by Soprano Kirsten Flagstad, the Metropolitan's new Norwegian import (TIME...
...high-spirited amazon, a goddess sired and loved by Wotan who punishes her by making her mortal and banishing her to a rock surrounded by fire. In Siegfried the perfect hero penetrates the flames and Brünnhilde is a woman radiantly in love. In Götterdämmerung the emotional range is so extended that few singers have been able to compass it successfully. In the first act a great Brünnhilde must be tender, exuberantly happy. In the second act bewilderment turns to blazing rage. Under the spell of one of Wagner's convenient potions...
...existent superlatives. Many a conservative New Yorker pronounced it the greatest concert within memory, credited its success not only to the little Italian conductor but also to Soprano Gertrude Kappel who majestically outdid herself as Brünnhilde in the Immolation scene from Götterdümmerung...
...Rachmaninoff's Island of the Dead might have been lost if Anspach had not pointed them out a second ahead of time to Engineer Gilbert who by a turn of the dial gave them proper volume. The thundering climaxes in Wagner's Götterdämmerung might have overloaded the amplifiers, resulted in blasts and distortion if the flow of electrical energy had not been monitored...
Gustaf De Loor, a new Dutch tenor, and Ludwig Hofmann, a German bass-baritone, sang in Die Götterdämmerung. Tenor De Loor gave a stodgy, dark-toned impersonation of Wagner's youthful Siegfried. Hofmann's Hagen might have seemed deeply sinister if mighty Michael Bohnen had not sung the same role so recently, in the same black cape, the same black-winged helmet...