[Met Performance] CID:123370



Don Giovanni
Metropolitan Opera House, Thu, March 17, 1938




Don Giovanni (97)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
Don Giovanni
John Brownlee

Donna Anna
Rose Bampton

Don Ottavio
Richard Crooks

Donna Elvira
Irene Jessner

Leporello
Virgilio Lazzari

Zerlina
Marita Farell

Masetto
Louis D'Angelo

Commendatore
Norman Cordon


Conductor
Ettore Panizza







Review 1:

Review of Oscar Thompson in Musical America

Brownlee and Rose Bampton in Final 'Don Giovanni'

The Metropolitan's second new "Don" in thirty years made his entry in company with a first-time Donna Anna at the season's fourth and final performance of Mozart's "Don Giovanni" on the evening of March 17. John Brownlee succeeded to the part which had been sung by Ezio Pinza in every performance since the work was restored to the repertoire in 1929-30 after a lapse of more than two decades. Rose Bampton made her one appearance of the season as the vengeful daughter of the Commendatore, which she had not sung previously anywhere. Others concerned were Richard Crooks as Don Ottavio, Irene Jessner as Elvira, Marita Farell as Zerlina, Louis D'Angelo as Masetto and Norman Cordon as the Commendatore, all of whom had appeared in these roles at earlier performances. Ettore Panizza conducted.

Mr. Brownlee dressed, played and sang the role with a praiseworthy regard for the traditions. The Don was bearded again after a period of making his conquests smooth-shaven. He was gallant personage if not one of commanding height. By one of those curious reversals of operatic casting which provoke the mere onlooker to wondering why things must be as they are, he had a very tall Donna Anna, whereas Pinza, with inches to spare, has drawn, in the current revival, a rather diminutive ones. The Australian baritone treated his secco recitative with style and zest. Moreover, he restored the missing appogiaturas to the mandolin serenade. His rapid-fire delivery of the so-called champagne air was a capital bit of singing of its kind, though elsewhere one could have wished for a more seductive quality of tone.

Miss Bampton met creditably the exactions of her very difficult role, showing clear understanding of what both the music and the action require. If hers was not the voice of steel for "Or sai the 'onore," it had the caress for "Non mi dir," which she sang with gratifying poise and a good legato style.



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