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Don Giovanni
Metropolitan Opera House, Thu, March 13, 1941
Don Giovanni (102)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
- Don Giovanni
- Ezio Pinza
- Donna Anna
- Zinka Milanov
- Don Ottavio
- Tito Schipa
- Donna Elvira
- Jarmila Novotna
- Leporello
- Salvatore Baccaloni
- Zerlina
- Bid? Say?o
- Masetto
- Arthur Kent
- Commendatore
- Norman Cordon
- Conductor
- Bruno Walter
Review 1:
Review of Robert Bagar in the World-Telegram
Audience Acclaims "Don Giovanni" at Met
A cheering, stamping and generally wild audience in the Metropolitan last evening heard the second performance of Mozart's "Don Giovanni" this season. This was no organized applause at all, for it came from all quarters of the house and spontaneously. The listeners acclaimed everyone at the slightest provocation, and they reserved their greatest tribute for Bruno Walter, who conducted.
Mr. Walter's share of the evening's work took precedence over all else. Although much of the orchestral contribution in the first act was below par for the Walter course, the second act emerged with all the splendor and freshness implicit in the Mozart score.
Ezio Pinza's Don is of the lusty-approaching-the-rowdy persuasion, rather than aristocratically malefic. His best effort came in the duet "La ci daren le mano" with Bidu Sayao, the Zerlina, and in his account of the Serenade.
One could enjoy the style of Tito Schipa's singing in the unrewarding part of Don Ottavio, and, further, he signed, sealed and delivered "Il mio tesoro" with the florid line done on one breath. Mme. Sayao earned the vocal honors of the occasion. She sang well always and she acted the none too guileless maid to a capital T.
Zinka Milanov, fetchingly costumed, was uneven vocally. Some things she did magnificently, some others not. But then there was her lovely voice in soft passages to be thankful for. Jarmila Novotna, the Metropolitan's glamour girl, knew her paces, but her singing was marred by a metallic quality.
The clowning antics of Salvatore Baccaloni were out of place most of the time, though you could split your sides laughing at them. Norman Cordon provided a fine Commandant; Arthur Kent a very agreeable Masetto.
The audience knew what it wanted, though, and apparently was getting it.
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