[Met Performance] CID:121550



La Boh?me
Metropolitan Opera House, Wed, May 5, 1937

Debut : Margaret Daum




La Boh?me (321)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Mim?
Rosa Tentoni

Rodolfo
Armand Tokatyan

Musetta
Margaret Daum [Debut] [Debut and only performance]

Marcello
Carlo Morelli

Schaunard
Wilfred Engelman

Colline
Norman Cordon

Alcindoro/Benoit
Louis D'Angelo

Parpignol
Lodovico Oliviero

Sergeant
Carlo Coscia


Conductor
Gennaro Papi







Review 1:

Review of Irving Kolodin in the Sun

"La Boh?me" Is Sung At Metropolitan

Apparently the Metropolitan's neglect of Puccini during the past winter is not to be prolonged through the spring season. His "La Boh?me" made its appearance last night, at virtually the earliest possible moment, for it was the first performance of an Italian opera in this series, For whatever inscrutable reasons, it was quite the equal of those given in the more pretentious season; on some respects, rather better.

In part this may be attributed to the reappearance of Armand Tokatyan as Rodolfo, but the efforts of Rose Tentoni, who was heard as Mimi, were also a considerable factor. Though she has previously been identified with roles which asked for more dramatic and vocal weight, Miss Tentoni adapted herself to the slighter dimensions of Puccini heroine with commendable restraint and sensibility. There were moments that indicated less than complete certainty in the part, but the vocal line was admirably sustained, generally with tone that was firmly formed and agreeable in quality. If her singing was not remarkable for warmth or color, there were the compensations of intelligent phrasing and abundant power for the climaxes.

In addition to aiding his less experienced colleague through difficult moments, Mr. Tokatyan played his vocal resources shrewdly, with especial effect in the first act narrative. Freshness is not the predominant characteristic of his voice, but the role was soundly sung, secure in pitch and gratefully free of forcing. Capability was the essence of this interpretation, though it attained an added stature through its surroundings.

The sole newcomer of the performance was Margaret Daum, who introduced herself as Musetta. Her performance observed the conventional eccentricities of Musettas, Miss Daum's assurance on the stage being one of her most valuable assets. Her Musetta was more peevish than spirited, but her rather small voice was well used. The Bohemians included Carlo Morelli as Marcello, Wilfred Engelman as Schaunard and Norman Cordon as Colline, the last of these distinguished not only by appropriate height and leanness, but also by welcome touches of dramatic individuality. Gennaro Papi conducted with unwonted energy and authority. There was much applause from the good-sized audience.



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