Henry E. Krehbiel within the Tribune:
Among the many singers the curiosity centered mainly in Fräulein Lehmann, who stuffed the title function. The woman got here with a wonderful status and sustained it in her performing in addition to her singing. Her tall stature and nearly navy bearing had been calculated to supply an impact of shock which needed to be overcome earlier than the viewers had been able to enter into the sensation which she infused into the half. To the attention she was a considerably extra matronly Carmen than the flamboyant is tempted to color as the perfect heroine of Bizet’s opera, and it was in concord with the brand new image that she stripped the character of the flippancy and playfulness which the general public are inclined to affiliate with it, and intensified its sinister aspect. On this she deviated from Madame Hauk’s impersonation and got here nearer to that of Madame Trebelli. In her musical efficiency, nonetheless, she surpassed each of those skilled and ripe artists. Her voice is true, versatile, and ringing, and of most telling high quality. She sings with excellent ease and her excessive notes have a reasonably electrifying timbre and energy. She has the power to fill it with the passionate expression and heat of coloration which the music of the half usually requires, and makes use of this potential with uncommon judiciousness and style. In each respect her Carmen is a novel creation and her artwork as exhibited in it realizes expectation to the complete.
Completely happy 77th birthday baritone Håkan Hagegård.
Completely happy 72nd birthday soprano Yvonne Kenny.
Birthday anniversary of librettist Antonio Ghislanzoni (1824); sopranos Adelaide Saraceni (1895) and Adele Kern (1901); composer Virgil Thomson (1896) and conductor Jean-Claude Malgoire (1940).