[Met Performance] CID:138060



La Traviata
Metropolitan Opera House, Sat, December 2, 1944




La Traviata (269)
Giuseppe Verdi | Francesco Maria Piave
Violetta
Licia Albanese

Alfredo
Charles Kullman

Germont
Leonard Warren

Flora
Maxine Stellman

Gastone
Alessio De Paolis

Baron Douphol
George Cehanovsky

Marquis D'Obigny
Louis D'Angelo

Dr. Grenvil
Lorenzo Alvary

Annina
Mona Paulee

Dance
Monna Montes

Dance
Alexis Dolinoff

Dance
Leon Varkas


Conductor
Cesare Sodero


Director
D?sir? Defr?re

Designer
Jonel Jorgulesco

Choreographer
Laurent Novikoff





La Traviata received seven performances this season.

Review 1:

Review of Robert Lawrence in The New York Times

"La Traviata"

Licia Albanese who replaced the indisposed Bidu Sayao, divided a triumph with Leonard Warren in the first performance of the season of Verdi's "La Traviata" at the Metropolitan Opera House last night. Both artists won richly deserved ovations from the audience that filled the house.

The entire cast was noteworthy, bringing together several important singers for the first time in this opera. Charles Kullman, in excellent voice, sang a role he has made his own, that of Alfredo, with smoothness and ease. George Cehanovsky as the Baron Douphol, Maxine Stellman as Flora and Mona Pualee as Annina, did commendable work in the minor parts allotted to them.

Miss Albanese, in splendid form, both vocally and dramatically, used her lovely voice to produce something very like magic in the last act especially where her "farewell" aria and the duet, "Parigi o cara," with Mr. Kullman, were possibly the finest singing of the entire evening. Miss Albanese also sang the duet "Un di felice," with Mr. Kullman in the first act, and the following aria,

"Ah, fors ? lui," with the purity of voice, intonation and phrasing and the sympathy of expression that have brought her such wide esteem.

Mr. Warren, also was in excellent form, and sang with a reserve and taste, both in the second and fourth acts that were unusual even with him. The rich, full voice was particularly effective because of the greater art with which it was used.

Mr. Sodero and the orchestra deserve praise for an intelligent and sensitive presentation of Verdi's beautiful accompaniment.



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