Waiting for Elisabeth Grümmer

{Reviving this frequently-read 2008 article about one of my most memorable stage-door experiences.}

In 1967 the Metropolitan Opera held its first June Festival. Having just opened the 'New Met' in September 1966, ticket demand for the premiere season at Lincoln Center had been phenomenal and the Company seized the opportunity to add several performances in the month of June. This was a bonanza for the fans and also provided the general public, who were curious to see the interior of the new opera house, expanded possibilities. The Met offered some very fine casting that June, and topping the list of exciting events (at least from the fans' point of view) was the belated Met debut of the German soprano Elisabeth Grummer. 

Grümmer was 57 at the time, and had already had a very successful career in Europe and had made several top-class recordings, working with Europe's finest conductors. She had made her debut with the Met on tour in Boston earlier that Spring and was now coming to the House in the role of Elsa in Wieland Wagner's production of LOHENGRIN.

This was my first chance to see this opera; Sandor Konya was at that time the leading exponent of the title role, and my beloved Irene Dalis was singing her venomous Ortrud. Stalwarts Walter Cassel, John Macurdy and William Walker completed the cast. Andre Cluytens, who was to have conducted this production of LOHENGRIN, had died the previous summer and so Joseph Rosenstock was on the podium. I suppose by international standards that Rosenstock was considered a routinier but - inexperienced as I was - I was simply thrilled to be there.

Grümmer made her entrance, and I recall the entire phalanx of Family Circle standees were waiting with collectively bated breath for her first line, which she deployed with a silvery pianissimo: "Mein armer bruder!"  We were under her spell immediately and she went on to sing a really thrilling Elsa and to win a very warm acclaim from the packed house. Although nearing the end of her career, Grümmer had maintained her clarity of sound; the voice had a lyrical feeling but she was able to ride the ensembles  with a bit of metallic thrust. It was an exciting debut but after repeating the role once, she never sang at the Met again. (She did appear as the Marschallin at the New York City Opera the following season.)

A large contingent of fans gathered at the stage door. Sandor Konya came out and was so kind; aside from signing my programme he gave me a beautiful photo of himself as Lohengrin. Irene Dalis  appeared and she even remembered me and thanked me for coming. Then the crowd began to drift away. I knew Grümmer hadn't left yet and I couldn't imagine why no one wanted her autograph after such an exciting debut.

After a few moments only a half-dozen of us remained. A chorister walked out and someone asked him if Miss Grümmer was coming out soon: "Oh, she doesn't sign autographs!" Someone else emerged and saw us: "You waiting for Grümmer? She won't sign." The other fans left. I figured at least I would get a glimpse of her. It had been an hour since the curtain had fallen, and I was exhausted. But something kept me there.

A car pulled up; the driver got out. He looked at me and said, "If you're waiting for Elisabeth Grümmer, you're wasting your time.  She doesn't like giving autographs."  I shrugged, trying to pretend that I WASN'T waiting for Elisabeth Grümmer.

Finally the stage door opened and Ms. Grümmer walked out with a gentleman. They got in the car and closed the doors. But they didn't leave. I stood by the stage door holding my program and pen, looking as forlorn as I could. I was 19 but looked younger, and I hoped she would take pity on me. The driver was pointing at me and the soprano looked my way hesitantly. Then she suddenly rolled down her window and gestured to me. Neither of us spoke, but I handed her the program. She briskly wrote her name and handed it back to me with just a trace of a smile. I thanked her and made a little bow; she rolled up the window and the car pulled away.

A brief sampling, from one of the tour performances:

Elisabeth Grummer & Irene Dalis - scene from LOHENGRIN - Met in Philadelphia 1967

Comments

[Erika]

What a wonderful story! I wish I could have heard that performance.

[Philip]

Hi Erika!!

Grummer made a beautiful recording of Elsa on EMI with Rudolf Kempe conducting. It's one that you should listen to when you prepare that role.

[Dmitry]

I love that story! It's interesting how some major singers never made it to the Met, or if they did - they did it without apparent enthusiasm. Perhaps the fault wasn't theirs - maybe they just weren't asked. Didn't Piero Cappuccilli only sing one performance at the Met, substituting for someone on short notice? Fischer-Dieskau never made it at all.

[Philip]

Nor did Dame Janet Baker!

[Dmitry]

Oh, right, Dame Janet. I hardly missed her. :-)

[Philip]

There's nothing like a Dame...

[haas]

thank you so much for your beautiful story. she is my favorite singer. loved it.

[Philip]

Hello Haas, and thank you for your message. I am finding that this story about Grummer is attracting a lot of readers. It's good that she has not been forgotten.