"The one element in yesterday´s performance of „Götterdämmerung“ that was unfamiliar to this public was the Brünnhilde of Mme. Melanie Kurt. As was to be expected from her previous Wagnerian impersonations since she arrived here, it was an extremely fine one and, lacking only at a very few points the greatest attributes of tragic power, compelled a high admiration, though Mme. Kurt had to contend against recent memories of other supremely fine impersonations of the same character.
The music of Brünnhilde has been rarely sung with a finer art, a more thrilling dramatic quality and poignancy of vocal utterance, a more eloquent declamatory potency and truth. It was equally as fine upon the histrionic side. Mme. Kurt´s conception lays the right emphasis upon the essentially womanly feeling of Brünnhilde deprived of the attributes of the goddess, the tenderness, the bewilderment and despair at the web of deception that enwraps her, the outraged dignity, the majesty of her final proclamation over Siegfried´s bier. Her effects were gained without a sacrifice of repose and with a consistent unfolding of the dramatic development. It was a performance on her part worthy of the best traditions of the house.“
Thus the American musicologist, Richard Aldrich, commented on Melanie Kurt´s role-debut as Brünnhilde at the MET in the edition of the New York Times from February 18th 1915.