[Met Performance] CID:1300



Robert le Diable
Metropolitan Opera House, Fri, December 7, 1883


In Italian



Robert le Diable (2)
Giacomo Meyerbeer | Eug?ne Scribe/Casimir Delavigne/Germain Delavigne
Robert
Roberto Stagno

Isabelle
Alwina Valleria

Bertram
Giovanni Mirabella

Alice
Emmy Fursch-Madi

Raimbaut
Nicola Stagi

Herald
Vincenzo Fornaris

Abbess/Dance
Malvina Cavalazzi


Conductor
Auguste Vianesi







Review 1:

Review in The New York Times:

METROPOLITAN OPERA HOUSE

"Roberto it Diavolo," Meyerbeer's fantastia opera, was repeated at the Metropolitan Opera house last evening before a large audience; which suffered the performance to pass without many bursts of applause. This opera is not abundant in opportunities for the display of those graces of vocalization and "tours de force" which are so dear to our audiences. The most showy aria in the work le allotted to Isabelle, and, unfortunately, Mme. Valleria, who filled this role last evening, was ill and an apology had to be made for her. Nevertheless she sang "Roberto, o tu che adoro" with force and feeling, and was rewarded with enthusiastic applause. Mme. Fursch-Madi, whose strong dramatic instincts enable her to give life and color

to the part of Alice, sang the music with excellent effect. Signor Mirabella was a sardonic Bertram, and Signor Stagl an acceptable Rambaldo. Signor Stagno's performance of Roberto was executed in his usual perfunctory manner and was sadly unimpressive. He endeavored to create some effects by forcing his upper notes, but occasional flatness interfered with even this vicious trick. A large portion of the most dramatic episode in the opera-the scene in the abbey - belongs to Elena. In Mme. Cavallazzi this pantomimic part found a most effective interpreter. Her grace and intelligence of gesture were a never-failing source of pleasure to the eye and of satisfaction to the mind. Her subtle movements, so full of undulating beauty, were also full of meaning. In fact, her dancing was a triumphant exposition of that higher art of ballet dancing which is well-nigh dead. The personal attractiveness of the lady added much to the illusion of a scene in which she played the temptress so bewitchingly. After the fall of the curtain she was summoned to the footlights by long and loud applause. Those who have attended the performances at the Metropolitan Opera House regularly during the present season will have, among their memories, no lovelier picture than that of Mme. Cavallazzi as Elena. The work of the chorus and orchestra last evening was generally acceptable.



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