Word: wagnerian
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...until the fourth night-after a warmup of Delibes, Mozart and Puccini -will the curtains part on the serious business of a Wagnerian music drama. That night in Siegfried, the fans will get the season's first eye-&-earful of the reigning queen of the Met, heroic-voiced, heroic-sized Helen Traubel...
...Flagstad, to join the great Dane, Lauritz Melchior-two singers with the bellows and brawn to shout down the batteries of trumpets and trombones that Wagner put to work in the pit. Since Flagstad went home to her quisling husband and semi-retirement in 1941, the Met's Wagnerian first team has been Melchior and Traubel...
Home-Grown Wagnerian. At first by default, and increasingly by merit, Helen Traubel has become the greatest Wagnerian soprano singing in the world today. She is the first great soprano at the Met to sing Wagner and nothing but (Flagstad sang Beethoven's Fidelia). She is also the first American-born Brünnhilde and Isolde who didn't study at the Wagnerian shrine at Bayreuth. Until 1940, when she sang in Canada, Helen Traubel had never been out of the U.S. She has never crossed the Atlantic...
...years Traubel and Flagstad divided most of the leading Wagnerian roles. In Die Walküre, Traubel sang a dozen Sieglindes to Flagstad's Brünnhildes. The usually aloof Flagstad finally said to Traubel: "I think it is now time we turn this around and I sing Sieglinde and you sing Brünnhilde." The change never came off. Shortly afterwards Flagstad returned to German-occupied Norway...
...scowling drunks-still suspect him and set out to persecute him. Peter takes another apprentice to work for him, and the second boy dies in an accident. The villagers hold Peter responsible and drive him out to sea to drown himself. The score is Mozartian in its classical simplicity, Wagnerian in the way it jumps from recitative to aria without stopping the action of the story. The scenes are bound together by biting symphonic interludes...