Baltimore American, Feb. 1, 1923:
"Of the principals engaged last night, Friedrich Schorr as Sachs, Desider Zador as Beckmesser, Adolph Lussmann as Walter and Meta Seinemeyer as Eva, gave characterizations which, by virtue of superb voice artistry coupled with skilled histrionic ability, resulted in really notable performances".
Baltimore American, Feb. 4, 1923:
"Owing to the illness of Miss von der Osten, the part of Elizabeth was taken by Meta Seinemeyer, who sang Eva in the 'Meistersinger.' The praise which her performance yesterday deserves could not but seem exaggerated to anyone who had not heard it! The beauty of her voice, in all ranges used, is probably without equal. From B flat above middle C up to E flat the tone color seemed too exquisite to come from a human being. In addition to this every note was alive with the exact emotion required; perfectly expressed. Her shading, her phrasing, and her differention [sic] between longer parts was ideal. Her acting of the role was excellent, and both her acting and singing gave evidence of sincere spontaneity and high training. So pleased was the audience with her work that it on several occasions unfortunately broke into applause during the music."
Philadelphia Inquirer, Feb. 10, 1923:
"Another of the distinct and notable successes of the evening was the Elizabeth of Meta Seinemeyer, in which the lovely character of this noblest of heroines was admirably and beautifully embodied. Wearing her regal robes as though to the manner born and looking every inch the princess she was impersonating, Mme. Seinemeyer dominated the stage with her presence, and convincingly justified the respect and devotion with which Elizabeth is regarded by all around her. She has a powerful mezzo-soprano voice which she employs with taste and skill, and she sang the 'Dich theure Halle' and the other numbers which fell to her share with just that fervor of feeling and exaltation of spirit which the effective interpretation of their significance requires. Especially fine was the suggestion of a pitying tenderness which her acting in the later scenes communicated and her impersonation in its entirety was one of deep impressiveness."
Deems Taylor, New York World, Feb. 14, 1923:
"Her Eva of Monday night had considerable archness and vocal charm."
Leonard Liebling, Musical Courier, Feb. 15, 1923:
"Meta Seinemeyer, the Eva, is a soprano of fresh and sweet tones, arch demeanor and traditional Nuremberg amplitude."
W.H. Humiston, Brooklyn Eagle, Feb. 13, 1923:
"Eva was sung by Meta Seinemeyer, the possessor of a clear soprano voice of lovely quality, and whose face and figure fit in splendidly with the part; her acting of the naive Miss Pogner was excellent."
And, in a review of the Feb. 28 performance, in which Claire Dux, who was much more famous than Seinemeyer at the time, took the role of Eva:
"It was not at all necessary for the Wagnerian Opera Festival Company to go outside of the company to engage Claire Dux 'as guest' for the part of Eva. She looked pretty and sang well with a light voice, and her acting was good; but she is certainly Meta Seinemeyer's inferior in voice and as an actress; nor is the latter a whit behind Miss Dux in 'looking the part.'" (Brooklyn Eagle, Mar. 1, 1923).
Richard Aldrich, New York Times, Feb. 14, 1923:
"Miss Meta Seinemeyer made a better impression as Elisabeth than she did as Eva on the previous evening and sang 'Dich, theure Halle' with much of the elasticity and fire that it demands."
Henry T. Finck, New York Evening Post, Feb. 14, 1923:
"The best two singers in last night's cast were Meta Seinemeyer, whose Elizabeth was a great improvement over her Eva, sweet-voiced and fervent, and Friedrich Schorr, whose Wolfram was one of the best ever heard here."
[Note: other critics did not share this opinion of Seinemeyer's Eva; see above.]
New York Sun, Feb. 14, 1923:
"This Elizabeth was Meta Seinemeyer, who had sung the Eva of the night before. She did generally better in princess's robes and dramatics, and sang the prayer in the last act best of all."
W.J. Henderson, New York Herald, Feb. 14, 1923:
"Miss Meta Seinemeyer as Elizabeth had few elements of moving emotion in her action but her voice, although not always adequate to demands made upon it, was generally good and displayed a commendable lyric freshness."
[Note: Henderson had a reputation for being extremely hard to please.]
W.H. Humiston, Brooklyn Eagle, Feb. 14, 1923:
"Meta Seinemeyer was an excellent Elizabeth. Her personality fits the part and her voice has freshness and fine dramatic power."
W.J. Henderson, New York Herald, Feb. 22, 1923:
"Miss Meta Seinemeyer's Elisabeth displayed a commendable lyric freshness."
W.H. Humiston, Brooklyn Eagle, Feb. 22, 1923:
"Meta Seinemeyer was a lovely Elisabeth, vocally and physically. She is a thoroughly capable actress and her voice is a lyric soprano of unusual quality. She sang the prayer in the third act with tragic pathos."
W.H. Humiston, Brooklyn Eagle, Feb. 26, 1923:
"Miss Seinemeyer sang Senta: her voice is of a lovely sympathetic quality and capable of almost infinite gradation in power and dramatic nuance. Her acting, too, showed a great command of histrionic resources. She, too, is a singing actress of absolutely first-class ability. Her singing of the Ballade, which contains the whole drama in a nutshell, was eloquent in its portrayal of the pathos of the phantom mariner."
W.H. Humiston, Brooklyn Eagle, Mar. 5, 1923:
"'The Flying Dutchman' cast included Meta Seinemeyer as Senta--she sings and acts the part to the satisfaction of the most critical lover of Wagner..."
Musical Courier, Mar. 8, 1923:
"Meta Seinemeyer as Senta was in unusually good voice and after the second act she was recalled many times."
New York Sun, Mar. 7, 1923:
"Seinemeyer looked and sang well as Elizabeth, at times rising to the magnificent, and utterly unperturbed by the undue weight of her crown."
Musical Courier, Mar. 15, 1923:
"... the clear and sustained brilliancy of Meta Seinemeyer's voice... all this was noted and greatly enjoyed by the large audience of March 7..."
"Another soprano who has made a deep impression by her beautiful singing, and whose acting was fully capable in the lyric roles, the only ones she sang, is Miss Meta Seinemeyer. Her Senta, Eva, and Elisabeth are among the best ever seen in New York. Her voice is a rich, resonant soprano, of a lovely quality of tone, and she uses it with great art and skill. She would doubtless make an excellent Sieglinde, but illness prevented her from singing in any of the 'Walkuere' performances. Later on, she may be heard in the heavier roles, for her voice is equal to it, and her dramatic ability as well. She only needs a few more years."
New York Times, Mar. 22, 1923:
"an equally famous slumber air of the soprano heroine, well sustained by Miss Seinemeyer against an outburst from the theatre's steam press..."
W.J. Henderson, New York Herald, Mar. 22, 1923:
"Mme. Meta Seinemeyer as Agatha gave an appropriate lyric touch to her singing and a becoming gentleness to her acting."
W.H. Humiston, Brooklyn Eagle, Mar. 22, 1923:
"Meta Seinemeyer sang Agathe, and her lovely voice was never heard to better advantage. In the famous 'scena' in the second act she won a triumph for her effective expression of the varied moods called for by the text and music."
Henry T. Finck, New York Evening Post, Mar. 22, 1923:
"Very lovely were the voice and the vocal art of Miss Seinemeyer as Agathe."
New York Sun, Mar. 22, 1923:
"From the vocal point of view Meta Seinemeyer brought much beauty to the heroine, Agathe. Her rendering of the aria 'Leise, leise,' though marred by a continuously explosive noise through the house, was of true and mellow caliber."
New York Tribune, Mar. 22, 1923:
"Meta Seinemeyer won something of an ovation for her exceedingly good singing in the part of Agathe. She showed, of all the principals, the best command of the style of the music and sang with purity of tone and intonation. At the most inopportune time possible, just at the start of her 'Leise, leise, fromme Weise' aria,a perverse steam pipe began a persistent and villainously noisy knocking, but with entire composure she kept on and succeeded in holding attention even against unfair odds."
"Among the lighter sopranos Meta Seinemeyer gave some very creditable performances, improving as the season went on..."
Boston Globe, Apr. 7, 1923:
"Miss Seinemeyer sang Senta dramatically, yet suavely. Her clear, high voice is well suited to the part."
Harry Austin, Pittsburgh Post, Apr. 27, 1923:
"Meta Steinemeyer [sic], as Elizabeth, was vivid, with a ringing organ that made her share of the score seem mere child's play."
Charlotte W. Tarsney, Detroit Free Press, May 1, 1923:
"The Elizabeth of Meta Seinemeyer was a characterization that gained the artist much approval. She sang in splendid voice, with fervor and much sympathetic understanding of the role."
Edward Durney, Buffalo News, May 8, 1923:
"Meta Seinemeyer was a pretty Eva and she gave fine account of herself vocally. The voice is a high, silvery soprano, which never fails to carry and which rises easily to climaxes."
Edward Durney, Buffalo News, May 10, 1923:
"Meta Seinemeyer was a charming, guileless Elsa, and, vocally, she exceeded her efforts of Monday evening. Her voice was clear and effortless, at once powerful and sweet."
The Times, May 10, 1929:
"Mme. Meta Seinemeyer, a newcomer to Covent Garden, sang the part of Sieglinde. Her subtle acting and charming presence combined with a voice of warm and sympathetic quality to make a most human figure of Sieglinde. Mme. Seinemeyer's voice is not quite strong enough, especially on the middle and lower notes, to come through some of the big orchestral climaxes, even with a conductor so considerate to the singers as Herr Robert Heger. Apart from this, Mme. Seinemeyer took her place worthily beside a Brünnhilde [Frida Leider] and a Fricka [Maria Olczewska] whose excellence is now familiar to Covent Garden audiences."
E.K. in the Daily Telegraph, May 10, 1929:
"Madame Meta Seinemeyer, the new Sieglinde, comes from Dresden. Within the limits imposed by a voice which has freshness and clarity rather than power--indeed, hardly sufficient power to carry well in the big spaces of our opera house--she made a very pleasant impression. Hers was a Sieglinde of appealing grace and charm, with an economy of gesture from which not a few opera singers might learn a useful lesson."
[Note: I am sure that this lack of strength in the voice was due to illness. The reviewers were unaware that Seinemeyer was ill.]
Herman Klein, The Gramophone:
"It was in the latter section of the Ring, by the way, that that delightful soprano, Meta Seinemeyer, filled the grateful role of Sieglinde. She elicited unqualified praise from all sides except one, but, as the regular critic of the paper in question happened to be away that night attending the Dvorak Festival at Prague, there was no necessity to pay much heed to the isolated opinion of his deputy."
E.K. in the Daily Telegraph, May 17, 1929:
"Madame Seinemeyer has managed to take the measure of our opera house since her début as Sieglinde last week. She was a charmingly girlish Eva, and her voice invariably rang delightfully fresh, clear, and pure. Here, again, one enjoyed the sense of complete ease conveyed by the singing."
Saturday Review, May 25, 1929:
"her Eva is one of the best I have ever seen--so fresh and girlish, without any of that kittenish archness which singers of the part so often substitute for real youth."
H.H. in the Daily Telegraph, May 22, 1929:
"Meta Seinemeyer's Sieglinde, too, was credible, human, and deeply moving."
Many more to come...
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