thetic fatigue in the second act (do you not still see the harassed, shuddering figure stumbling into view and falling voiceless to sleep at the knees of her brother-lover?) remain in the memory like pictures in the great galleries. And how easily in the last act, in her single phrase, by her passionate suggestion of the realization of motherhood, did she wrest the scene from her fellow-artists, no matter who they might be, making such an effect before she fled into the forest depths, that what followed often seemed but anticlimax.
Mme. Fremstad never sang the three Brünnhildes in sequence at the Metropolitan Opera House (of late years no soprano has done so), but she was called upon at various times to sing them all separately. Undoubtedly it was as the Brünnhilde in Götterdämmerung that she made the most lasting impression. The scene of the oath on the spear she carried into the realms of Greek tragedy. Did Rachel touch greater heights? Was the French Jewess more electric