Lauritz Melchior as Parsifal

Lauritz Melchior Web



Mini-Bio-Timeline  Filmography  Bibliography Repertoire Photo Gallery Selected Recordings

Performance Chronologies:

1890-1920   1920-1924   1924-1926   1926-1929   1929-1931 

                 1933-1935   1935-1936   1936-1938   1938-1939

1939-1941   1941-1945   1945-1947   1948-1950   1950-1955


Warning! This performance chronology is very incomplete. It will be updated frequently. All information is subject to revision. Please bring factual or typographical errors to my attention so that they may be corrected as soon as possible. Thank you.

August 1931-Mr. and Mrs. Melchior, and Frida Leider, take an ocean liner to South America from Genoa, Italy.  
[18 August 1931-a production of Tristan at Bayreuth is given a international radio broadcast]

25 August 1931
  • Teatro Colón, Buenos Aires: Tristan und Isolde. Georg Sebastian. Lauritz Melchior, Fritz Krenn, Alexander Kipnis, Frida Leider, Carla Raslag. 
30 August 1931
  • Teatro Colón: Tristan und Isolde See 25 Aug 1931.
6 September 1931
  • Teatro Colón: Walkuere. Otto Klemperer. Melchior, Kipnis, Ludwig Hofmann, Delia Reinhardt, Leider, Maria Ranzow. Stage direction: Hans Sachs. Sets: Max Hofmueller.
8 September 1931
  • Teatro Colón: Tristan und Isolde See 25 Aug 1931.
17 September 1931
  • Teatro Colón: Siegfried. Klemperer. Melchior, Karl Joeken, Hofmann, Kipnis, Jean Stern, Hanna Klee, Ranzow, Leider.
20 September 1931
  • Teatro Colón: Siegfried. See 17 Sept 1931
26 September 1931
  • Teatro Colón: Walküre. See 6 Sept 1931.
29 September 1931
  • Teatro Colón: Götterdämmerung. Klemperer. Melchior, Krenn, Kipnis, Stern, Leider, Ranzow, Maria Raidl
October 1931-Return voyage to Europe  

To France

20 November 1931
  • Paris Opéra: Walküre. Philippe Gaubert. Melchior, Grommen, Pernet, Ferrer, Lubin, Lapeyrette
22 November 1931
  • Paris Opéra: Tannhäuser. Gaubert. Melchior, Brownlee, Grommen, Helm, Hoerner (replacing Lubin)

From France to Italy

29, 30 November 1931
  • Concerts: Rome; Conservatorio Santa Cecilia & Augusteo.

From Italy to Belgium

3 December 1931
  • Antwerp, Belgium: Tristan und Isolde.
ca. 6 December 1931
  • Concert: Brussels, Belgium. Defauw. Siegfried excerpts with Melchior, W. Gombert (Mime), J. Ruhr (Wotan).


From Belgium to Paris


9 December 1931
  • Paris Opéra: Siegfried. Gaubert. Melchior, Fabert, Journet, Duclos, Narçon, douin, Montfort, Lucile Panis (replacing Larsen-Todsen).
10 December 1931
  • Special Appearance: Paris, Salle Gaveau, "Université des Annales." Melchior sings at an Otello-themed lecture (by Henry Bidou) and "music gala."  The program is repeated twice (afternoon and evening).




To Denmark

1, 3 January 1932
  • Royal Opera, Copenhagen: Siegfried

To France

January 1932
  • Concerts: Monte Carlo
9, 10 January 1932
  • Concerts: Paris, Salle Gaveau, two "Lamoureaux Concerts". Fritz Fall. Melchior's selections on the 10th are Meistersinger excerpts and Strauss songs.

To Germany

From Germany to the United States

15-22 January 1932-Melchior travels from Bremen to New York on the Europa; Melchior's Met colleagues Elisabeth Rethberg and Michael Bohnen also arrive on this ship  
26 January 1932
  • Met Opera tour, Philadelphia: Tristan und Isolde. Bodanzky. Melchior, Schorr, Andrésen, Kappel, Branzell. This is Melchior's season debut for the Metropolitan Opera Company. Although the sets for the productions in which Melchior participates remain the same as in former seasons, Alexander Sanine debuts as stage director for Tristan, and Hanns Niedecken-Gebhard for the other Wagner productions.

    Phil. Inquirer: "Lauritz Melchior and Gertrude Kappel [are] probably the two ablest interpreters of the title roles now available here....The dark quality of Mr. Melchior's voice makes this Danish baritone-tenor ideally suited to the range required of Tristan's voice, and the maturity of his manner is also entirely appropriate for the acting requirements, his work in the difficult final act being memorably eloquent and sung with superb skill in depicting depth of feeling" (Linton Marton, p. 10)
30 January 1932
  • Met. Opera: Walküre. Bodanzky. Melchior, Tappolet, Bohnen, Kappel, Ljungberg, Branzell. Act II was BROADCAST

  • New York Sun:
    "The role of Siegmund is favorable to his voice and he added to the performance an intelligent  impersonation." (W. J. Henderson, p. 17)

    New York Times: "in uncommonly good voice." (Downes, p. N6)

    New York Post:"Melchior returned in particularly good voice and sang, for the most part, in a manner to justify his Bayreuth reputation. He had power for his climaxes, he exhibited a regard for melodic line unusual in Wagner tenors and he displayed a most gratifying respect for the pitch." (Thompson, p. 9)

    New York Herald Tribune: "Mr. Melchior...sang much of Siegmund's music with fervor and beauty; but he was strangely apathetic in action"  (Gilman, p. 26)

    New York American: "Mr. Melchior qualified to the limit the musical exactions of Siegmund....It was a rare delight to listen to his share so splendidly and artistically sung" (Bennett, p. 20B)

    New York World-Telegram: "Mr. Melchior...was in especially good voice, singing much of Siegmund's music with sensuous beauty, as well as expressiveness and tonal volume" (Sanborn, p. 20)
3 February 1932
  • Met. Opera: Tristan und Isolde. Bodanzky. Melchior, Schorr, Bohnen, Ljungberg, Doe [debut].

    New York Herald Tribune: "The Tristan of Mr. Melchior...remains the most excellent vocal embodiment of the part, and the most dully acted, that the Metropolitan has displayed in years" (Gilman)

  • New York Sun
    : "Mr. Melchior's Tristan contained some good singing and revealed understanding and feeling." (Henderson, p. 18)

    New York Times
    : "Mr. Melchior, an unromantic and unimpressive Tristan of the first act, had hard places in his voice, though the duet of the second act was pitched better than usual and his tone became warmer and richer as the evening progressed." (Downes, p. 24)

    New York Post
    : "As Tristan Mr. Melchior was in variable voice, but succeeded in treating the Wagner melos with more consideration than is usually true of tenors of his type. Moreover, he began the love duet on key. His appearance was not made more romantic, however, by a change of beard. [Reviewer is also critical of Melchior's treatment of the "awakening to love" scene with Ljungberg in Act I, considering his part in the gesturing cliched (or, at least, as not meshing well with Ljungberg's] (Thompson, p. 7)

    New York World-Telegram: "a Tristan to invite gratitude" (Sanborn, p. 18)

    New York Evening Journal: "sang with a careful effectiveness" (Weil, p. 23/B33)
9 February 1932
  • Met Opera tour, Philadelphia: Siegfried. Bodanzky. Melchior, Clemens, Bohnen, Schuetzendorf, Tappolet, Sabanieeva, Doe, Kappel.

    Phil. Inquirer: "Lauritz Melchior [was] a...portly but exuberant and vocally impressive Siegfried....While Mr. Melchior is perhaps not the ideal Siegfried in appearance, his acting ability and sincerity give his performance conviction" (Linton Martin)
12 February 1932
  • Met. Opera: Tannhäuser. Bodanzky. Melchior, Schorr, Bohnen, Kappel, Jeritza. Act II was BROADCAST

    New York Herald Tribune: "Mr. Melchior usually was in good voice: sometimes the fervor of his song hardened his higher notes, but in general his Tannhäuser was well sung, vital and eloquent" (Perkins)

  • New York Sun
    : "Mr. Melchior did not seem to be in the best of voice, and his singing gave an impression of labor. But his Tannhäuser was according to tradition. His portrayal, however, was not subtle." (Henderson, p. 7)

    New York Times
    : "Mr. Melchior sang Tannhäuser with freshness and without stiffness." (Taubman, p. 23)

    Brooklyn Eagle
    : "Mr. Melchior...was in excellent voice and presented a fairly convincing portrait of the impulsive knight" (p. 8)

    New York World-Telegram: "Mr. Melchior provided some admirable singing as Tannhaeuser, although in the earlier portions of the presentation he was by no means in the pink of vocal condition. From the dramatic point of view he excelled in his delineation of one possessed in the scene of the singing contest." (Sanborn, p. 4)

    New York American: "Lauritz Melchior, the Tannhaeuser, realized fully the meanings and moods of the music" (Bennett, p. 12)
15 February 1932
  • Met. Opera: Walküre. Bodanzky. Melchior, Tappolet, Schorr, Mueller, Ljungberg, Claussen.

    New York Herald Tribune:
    "Mr. Melchior, for the most part in good voice, but not always secure in his part, was a stolid Siegmund" (Bohm, p. 14).

  • New York Sun
    : "Mr. Melchior as Siegmund sang with vocal color." (S.A.D., p. 33)

    New York Post
    : "Lauritz Melchior, in good voice, repeated, with perhaps some betterment, the resonant, dramatic, and lyrical Siegmund of the last previous performance of "Die Walkuere." Thanks to [Melchior's] dramatic gifts...the [scene] of the supper in the first act...[was] lifted out of [its] usual oppressive routine" (Thompson, p. 7)
18 February 1932
  • Met Opera: Tristan und Isolde. Bodanzky. Melchior, Whitehill, Bohnen, Kappel, Doe. Act II was BROADCAST

    New York Herald Tribune: "Mr. Melchior sang with fervor throughout, often with genuine poignance, and with unfailing tonal beauty" (Bohm, p. 12)

  • New York Sun
    : "Mr. Melchior as the Tristan was hardly in best voice at all time [sic], perhaps, but he was usually able to sing with excellent taste and much tone coloring and his general characterization had vivid life and compelling power" (S.A.D., p. 18)

    Brooklyn Eagle
    : "The best Tristan of the company, [Melchior] was in good voice." (T.B.W., p. 20)

    New York World-Telegram: "Mr. Melchior was by no means the ideal Tristan to behold, but the opulence of his tone and the amplitude of his style gave keen satisfaction" (Sanborn, p. 24)
23 February 1932
  • Met Opera tour, Philadelphia: Tannhäuser. Bodanzky. Melchior, Schorr, Tappolet, Manski, Kappel.

Philadelphia Inquirer: "Mr. Melchior's mellow beauty of voice and his sincerity of acting invested the title role with constant interest and genuine human feeling. His robust singing was always shaded with fine artistry and his performance was rightly keyed for the requirements of the role." (Martin, p. 13)

27 February 1932
  • Met. Opera tour, Brooklyn: Walküre. Bodanzky. Melchior, Tappolet, Schorr, Kappel, Ljungberg, Claussen.
5 March 1932
  • Met. Opera: Tristan und Isolde. Bodanzky. Melchior, Whitehill, Bohnen, Ljungberg, Von Essen.
New York Herald Tribune: "Mr. Melchior, as Tristan, sang much of his music admirably" (p. 23)
6 March 1932
  • Special Appearance: Melchior performs with the rest of the Met's "German Wing" in a German-themed sketch for the annual "Met Surprise Party."
11 March 1932
  • Met. Opera: Siegfried. Bodanzky. Melchior, Clemens, Bohnen, Schuetzendorf, Tappolet, Fleischer, Schumann-Heink, Ljungberg. ("unabridged" Ring) Act II was BROADCAST

    New York Herald Tribune:
    "Often beautiful singing of the title role [on Melchior's part]" (Gilman, p. 8).

  • New York Times
    : "On the stage, Mr. Melchior, who has improved recently in physical proportions and contour, again showed himself by far the best of the Wagnerian tenors at the Metropolitan.  The voice was fresh and strong, and heard to better advantage than on previous occasions....In dramatic portrayal this Siegfried was not all that the role could imply. But it was spirited and bright-toned singing of a nature befitting the music." (Downes, p. 19)

    New York World-Telegram: "Mr. Melchior looked more like a traditional Bacchus than an ideal forest lad, but his voice and singing [made up for that visual incongruity]" (Sanborn, p. 18)

    New York American: "one of the best and most interesting of tenors in German opera" (Bennett, p. 10)
14 March 1932
  • Met. Opera: Tristan und Isolde. Bodanzky. Melchior, Whitehill, Tappolet, Ljungberg, Doe.
17 March 1932
  • Met. Opera: Götterdämmerung ("unabridged" Ring) Bodanzky. Melchior, Schuetzendorf, Bohnen, Gabor, Kappel, Doe, Manski. (Act II was BROADCAST)

    New York Herald Tribune:
    "Mr. Melchior's acting was quite rudimentary as usual, but how beautiful his voice is, and what a pleasure it is to hear the great line of the music sustained with the power and the lyric force that he brings to it." (Gilman, p. 9)

  • New York Times
    : "Mr. Melchior did some magnificent singing. His Siegfried of "Götterdämmerung" is far more dramatic than his Siegfried in the opera of the same name. The interpretation is more authoritative, more distinguished, in action and song." (Downes, p. 24)

    New York Post
    : "Melchior's singing was the finest we have heard from any recent Siegfried, here or abroad. There were some minor deviations from pitch and in the scene of the arrival of Siegfried at the Hall of Gibichungs a few moments of obvious uncertainty because of the refractory behavior of Siegfried's steed. But the tenor sang the melos, always; there were no shoutings, no barkings, no fits of voice strangulation.  His full notes had a rapier thrust. His softer ones were, for a Heldentenor, unusually tender. His acting, too, had more of vigor and point than it possessed in last week's "Siegfried" (Thompson, p. 9)

    New York Sun
    : "His first two acts were a struggle with the agility the music calls for, but his third act, and particularly his narrative, was superlative. Mr. Melchior should also have been credited as assistant stage director, for he twice saved Mr. Schuetzendorf's ill-adjusted Gunther from serious lapses in his "business" and position in the ensemble by effective prompting and nicely calculated foresight" (Kolodin, p. 44)

    New York American: "beautifully voiced and finely enacted" (Bennett p. 10)

    New York Evening Journal: "Lauritz Melchior has done nothing better this season" (p. 10) 
23 March 1932-Melchior gives a lecture on "Wagnerian style" to Professor Martin Bernstein's class at New York University's College of Fine Arts.  
25 March 1932
  • Met. Opera: Parsifal. Bodanzky. Melchior, Bohnen, Whitehill, Schuetzendorf, Tappolet, Kappel. (Act II was Broadcast)

    New York Herald Tribune:
    "[Melchior's] singing exhibited much of its familiar eloquence, and his outburst of anguished spiritual illumination had something of the piercing intensity that is proper to it.  But Heaven seems to have felt that in endowing Mr. Melchior with a voice that any Heldentenor might covet, it had done quite enough for him. If Mr. Melchior ever becomes an actor, it will probably be in some better world than this" (Gilman, p. 10).

New York Times: "Lauritz Melchior has the title role particularly in his grasp....interpreting [the role at Bayreuth], he imbibed thoroughly what are known, for better and for worse, as  "the traditions." (Downes, p. 17)

New York Sun: "Mr. Melchior was a good Parsifal....The long [Act II] scene between Mme. Kappel and Mr. Melchior worked its spell upon the audience" (p. 25)

New York American: "The Parsifal was Lauritz Melchior, whose splendid voice and eloquent acting communicated every mood of the "Guileless Fool" to listeners whose tribute of silence was indeed the perfect tribute" (Bennett, p. 8)

31 March 1932
  • Met. Opera: Tristan und Isolde. Bodanzky. Melchior, Whitehill, Tappolet, Kappel, Claussen.
2 April 1932
  • Met. Opera: Götterdämmerung. Bodanzky. Melchior, Whitehill, Bohnen, Gabor, Kappel, Doe, Manski.
4 April 1932
  • Met. Opera: Tannhäuser. Bodanzky. Melchior, Tibbett, Tappolet, Manski, Rethberg.
10 April 1932
  • Concert, Met Opera: At the Met's Sunday night concert, Melchior sings "Dio Mio Potevi" from Otello in Italian, and the duet from Act I of Die Walküre with Dorothee Manski. Conductor, Pelletier.
13 April 1932
  • Met. Opera: Siegfried. Bodanzky. Melchior, Clemens, Bohnen, Schuetzendorf, Tappolet, Fleischer, Doe, Kappel.
New York Sun: "[Melchior, Clemens, and Kappel offered] performances smoothly routine."  (p. 18)
16 April 1932
  • Met. Opera: Tannhäuser. See 4 April 1932. (# 19 of 19 performances at the Met this season) (the final two acts of this performance were BROADCAST)
New York Times: "Mme. Elisabeth Rethberg and Messrs. Melchior and Tibbett in the principal roles sang with consistent and distinguished vocal beauty. Moreover, they accomplished the rarer operatic achievement of evoking in moving fashion the spirit of the music and of the parts they portrayed...[with] nobility and conviction" (Hutchinson, p. 27)

New York Times: (Downes summing up the past season) "The growth of Mr. Melchior, who had never sung here as well as he did this season, kept him at the head of the tenor contingent-a highly auspicious development" (April 17, p. X7)
19 April 1932-Mr. and Mrs. Melchior sail for Europe on the Europa; Thomas Beecham and Sigrid Onegin are among the fellow passengers.  


From the United States to Belgium


28 April 1932
  • Antwerp, Belgium, Flemish Opera: Lohengrin. Frieder Weissmann.


To England


11 May 1932
  • Covent Garden: Tristan und Isolde. Thomas Beecham. Melchior, Janssen, Andrésen, Leider, Olszewska. (RADIO: Act I broadcast)

Times: "Melchior makes a man of Tristan, if not the superman that the part requires and rarely gets.  He had dignity in the first act, tenderness in the second, and pathos in the third.  He could not quite succeed in phrasing so as to give that sense of an inner vision in the central scene which should illumine all the subsequent action." (p. 12).

Guardian: This performance of Tristan und Isolde is "likely to become historical....Melchior's Tristan was of noble restraint and simplicity. He hinted of tragedy the moment he came before Isolde with his broken phrase "Begehrt, Herrin, was ihr wuenscht." And in Act 2 he most skilfully blended his voice with Leider's, and to suit such a voice as hers demands a tenor of extraordinary intelligence. Melchior's tone is not uncommon of quality, but he shades it with a nice art, and seldom oversings." (Cardus, p. 11)

13 May 1932
  • Covent Garden: Walküre. Robert Heger. Melchior, Allin, Schorr, Lehmann, Leider, Olszewska. (RADIO: Act III broadcast)

Times: "Mme. Lotte Lehmann and Herr Melchior were able to make the words unusually clear" (p. 8).

Scotsman: "The Siegmund was that unique exponent of the part, Herr Lauritz Melchior.  In all probability Herr Melchior has never sung the part better than he did to-night.  With his fine diction, he gave to his lines the manly vigour of a warrior Siegmund, and when a more lyrical quality was demanded, as in the beautiful "Lenzlied," his singing was a marvel of restraint and phrasing." (p. 14)

16 May 1932
  • Covent Garden: Siegfried. Heger. Melchior, Tessmer, Schorr, Habich, Delfosse, Gruhn, Goodacre, Leider

Times: "Melchior's representation of Siegfried has now mellowed to such an extent that the Nietzschean Superman might well become a Platonic Guardian if the process were carried a little further. Not that there is anything lacking in his high spirits, but a feeling of growth has taken the place of the abrupt jerks that have sometimes marked the process of Siegfried's adolescence....It was this feeling of unimpeded growth which made last night's performance great. Herr Melchior took the immense exactions of the past in in an easy stride and sang freely and freshly right up to the great climax of the duet at the end in which he had Mme. Leider to add lyrical warmth to an already glowing performance....All these singers have sung these parts together before, and Covent Garden has already put the seal of its approval upon their collaboration. Last night it was emphatically reaffirmed" (p. 8).

Observer (May 22): "Melchior is made for Siegfried, though in a coarse sort of way" (p.14)

19 May 1932
  • Covent Garden: Götterdämmerung. Beecham. Melchior, Janssen, Helgers, Habich, Leider, Olszewska, De Foras.

Times: "With such a Brünnhilde and Siegfried as Mme. Leider and Herr Melchior the lyrical beauty of the prologue and of much else later was assured" (p. 12).

Guardian (May 25): "Lauritz Melchior is...on the whole the best example of the "Helden-tenor" available today both dramatically and musically" (C.G., reviewing Siegmund and Siegfried, p. 7)

23 May 1932
  • Covent Garden: Tannhäuser. Beecham. Melchior, Janssen, Hofmann, Slobodskaya, Lehmann. (RADIO: Act II broadcast)

Times: "Melchior as Tannhäuser was properly torn between [Venus]'s charms and those of the sainted Elisabeth, but it was Venus, one felt, who would hold him. His singing was throughout robust rather than subtle" (p. 12).

Scotsman: "Herr Lauritz Melchior is not in any sense born to the part of Tannhäuser, but he can always go through with it for better or worse.  To-night was one of his better appearances in the role, yet it was all too stiff. Every effect was carried out just a shade too far, and, although there was expression in his singing, there was a feeling of overemphasis." (p. 10)

Observer (May 29): "The name part was beautifully sung by Melchoir [sic], and for a moment, when he entered in the darkness of the last act, he was moving as a character" (p. 19)

26 May 1932
  • Covent Garden: Tristan und Isolde. Beecham. Melchior, Janssen, Helgers, Leider, Olszewska.
29 May 1932
  • Recording session, HMV, London; excerpts from Siegfried with soprano Florence Easton, conducted by Heger.

    New York Times, reviewing Melchior and Easton's recording of the duet from Act III: "It was quite obvious that if this thing was to be done properly in our generation, Melchior would have to be the tenor selected" (Pakenham, p. X8, Nov 6 1932), with the result being "the most completely satisfying thing the gramophone has to offer today." (Packenham, p. X10,  December 18. 1932)
30 May 1932-Melchior performs at Harrod's in Knightsbridge at 3:30 PM today, along with Heinrich Tessmer, Eduard Habich, and Friedrich Schorr in a free concert (accompanist: Ivor Newton) to promote the recordings they have made together from Siegfried for HMV.
1 June 1932
  • Covent Garden: Siegfried. Heger. Melchior, Tessmer, Hofmann, Habich, --, --, --, Florence Easton. (Radio: Act III broadcast)
3 June 1932
  • Covent Garden: Götterdämmerung.See 19 May 1932. (Radio: Act III broadcast)

Times: "Melchior, if not [Leider's] equal in subtlety of expression, improves upon his excellent Siegfried at every repetition" (p. 8).


From England to France


7, 9 June 1932
  • Paris Opéra, Wagner Festival; Tristan & Isolde. Wilhelm Furtwängler. Melchior, Janssen, Kipnis, Leider, Olszewska

Revue Musicale, June 1932 (Henry Prunières): "Melchior is well known to Paris.  He is an incomparable Siegfried. He is an equally great Tristan, whose formidable voice, of superb metal, easily dominates the unleashed orchestra, and is sweet and tender for the words of love." (p. 49).


Summer 1932-Mr. and Mrs. Melchior spend their first summer vacation at a beautiful hunting estate in Chossewitz, Germany. Close to Berlin and Germany's border with Poland, it will be the place where he can gather together with his


Melchior's summer home at Chossewitz in Northeast Germany

children, in-laws, friends and colleagues until the outbreak of World War Two.


July 1932
  • Concerts: Copenhagen and [Göteberg?] Sweden.


To Belgium


August 1932
  • Concert: Belgium.


To Germany


6 September 1932
  • Berlin Staatsoper: Walküre


To Denmark


20 September 1932
  • Copenhagen Royal Opera: Siegfried
24 September 1932
  • Copenhagen Royal Opera: Pagliacci
2 October 1932
  • Copenhagen Royal Opera: Siegfried
October 1932
  • Concerts: Denmark
9 October 1932
  • Berlin Staatsoper: Tristan und Isolde. Furtwängler. Melchior, Bockelmann, Kipnis, Leider, Olszewska


To France


21, 26 October 1932
  • Paris Opéra: Siegfried. Philippe Gaubert. Melchior, Fabert, Journet, Duclos, Narçon, Hamy, Montfort, Lubin
28 October 1932
  • Paris Opéra: Lohengrin. Ruhlmann. Melchior, Endrèze, Journet, Cambon, Lehmann, Mahieu
29, 30 October 1932
  • Concerts: Paris, Théatre du Châtelet. Two Wagner concerts with Orchestra Colonne. Paul Paray conducts. Melchior sings excerpts from Lohengrin, Meistersinger, Siegfried, Walküre (29th); Tannhäuser, Tristan, Siegfried, Meistersinger, together with Germaine Hoerner and Lucie Dewinsky (30th)
15? November 1932
  • Lyon, France: Tannhäuser
21 November 1932
  • Paris Opéra: Siegfried. See 21 & 26 October 1932.
26 November 1932
  • Lyon, France: Lohengrin
28 November 1932
  • Paris Opéra: Lohengrin. Ruhlmann. Melchior, Endrèze, Journet, Cambon, Lubin, Kalter
30 November 1932
  • Paris Opéra: Walküre. Ruhlmann. Melchior, Grommen, Journet, Larsén-Todsen, Ferrer, Ranzow(?), 
2,4 December 1932
  • Bordeaux, France: Siegfried
December 1932
  • Concert: Brussels, Belgium. Désiré Defaux. Melchior, Treskow, --, Kappel, Helm Complete first and third acts of Tristan, and the duet from the second act.

To Germany


1933-the 'worst year of the Depression': mass unemployment (ca. 1/3 of the workforce) everywhere. For Metropolitan Opera employees, this translates into shortened seasons, salary decreases, limited new productions and refurbishments,  lots of for-a-charity performances, and more radio broadcasts. Meanwhile, for anyone trying to avoid working in Germany (or unable to work there), the Met, the only lengthy U.S. opera season, takes on an unprecedented importance. The 1932-1933 season is the first in which Lauritz Melchior performs all of his Wagner roles for the company. 


From Germany to the United States

6 January 1933-Melchior boards the Europa in Bremen bound for New York. Frida Leider, come for her first season at the Met, is among the fellow passengers. They arrive in New York on the 12th.  


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Last Updated January 16, 2009