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"Carmen" took its place in the season's repertoire in a special performance on the afternoon of Thanksgiving Day and, while the presentation was not, in any sense, spectacular, it was one of general merit. The Carmen was?Florence Easton, who first revealed her version of the r?le to a Metropolitan audience two years ago. She has since made infrequent appearances in the part. Though neither her voice nor her personality is ideal for the character denoted in Bizet's score, she sings much of the music beautifully, especially that which lies in the upper part of her voice. The Micaela was Queena Mario, heard in other years with the San Carlo Company, who made her debut with the Metropolitan forces upon this occasion. Her initial appearance was decidedly promising. In voice and gesture she somewhat resembled Lucrezia Bori. While not large, her voice is sweet and not without color, and she enacted the part with grace and charm. Her success with the audience was emphatic and she was given an ovation when she took a curtain call alone. Charlotte Ryan, as Frasquita, was also making her first appearance with the company. The remainder of the cast was familiar, with Giovanni Martinelli as Don Jos?, Giuseppe De Luca Escamillo, and Marion Telva, George Meader, Paolo Ananian, Louis D'Angelo and Vincenzo Reschiglian in the other r?les. Rosina Galli did some effective dancing in the ballet scene of the last act. Louis Hasselmans discharged his duties as conductor with skill and distinction.

Search by season: 1922-23

Search by title: Carmen,

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