[Met Performance] CID:80550



Il Barbiere di Siviglia
Metropolitan Opera House, Fri, March 10, 1922

Debut : Angeles Ottein




Il Barbiere di Siviglia (117)
Gioachino Rossini | Cesare Sterbini
Figaro
Titta Ruffo

Rosina
Angeles Ottein [Debut]

Count Almaviva
Mario Chamlee

Dr. Bartolo
Pompilio Malatesta

Don Basilio
Adamo Didur

Berta
Louise B?rat

Fiorello
Vincenzo Reschiglian

Sergeant
Pietro Audisio


Conductor
Gennaro Papi





In the Lesson Scene Ottein sang Il Carnevale di Venezia (Benedict).

Review 1:

Review of Oscar Thompson in Musical America

D?but of Angeles Ottein

Reports from the West, where she had sung with what was described as sensational success with the Scotti Opera Company, played a part in awakening a lively interest in the d?but of a new coloratura soprano, Angeles Ottein, at the Metropolitan, Friday night. The opera was Rossini's "Barber of Seville," which already had served three sopranos in exhibiting their vocal graces during earlier weeks of the season at the Broadway house. With Miss Ottein in the cast were Titta Ruffo, but recently returned from a concert tour, as Figaro; Mario Chamlee as Almaviva, Adamo Didur as Basilio, Pompilio Malatesta as Don Bartolo, and Louise Berat, Vincenzo Reschiglian and Pietro Audisio in secondary r?les.

Like Maria Barrientos, a Rosina of recent memory, Miss Ottein is a Spanish artist. Dark, plump, quick of motion and broad of smile, she was as active on the stage as she was merry and coquettish. Vocally, she provoked wonder, if not always delight, by vaulting to heights beyond the usual reach of such voices, with several F's in altissimo - or was one of these highest tones a stepladder G? Her staccato was particularly clean-cut and facile; indeed, hers seemed almost a staccato voice. All this, however, was aside from, or at the expense of, musical quality. Due to several different methods of producing her tone, it was now dulcet, now hard, now sparkling, and again metallic. Virtually none of the many skyrocketing phrases sung by her were of gratifying sound, and some even tempted smiles. It must be recorded that she was vociferously applauded after "Una Voce Poco Fa" and her aria in the lesson scene, Benedict's "Carnival of Venice."

The performance was a lively one, and inclined more than ordinarily to comedy of the slapstick variety. Ruffo, in improved voice and evident high spirits, gave to the stage business much of its vim. Didur was a grotesque Don Basilio, in looks, action and in voice. Malatesta seemed encouraged to carry his part well beyond the borders of burlesque. Chamlee sang admirably, as he nearly always does, but Almaviva is not an altogether happy r?le for him



Search by season: 1921-22

Search by title: Il Barbiere di Siviglia,



Met careers