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Since the season’s previous performance of Mozart’s “Marriage of Figaro” was mostly a matter of discovering Italo Tajo’s suitability for the complex duties of the leading role, last night’s repetition at the Metropolitan provided a chance to compliment some of the other members of the cast on their good work. That one could do so in toto was itself a heartening sign, for by preserving the personnel intact, the management took the path of virtue as well as convenience.

With the arts of Bidu Sayao’s Susanna and the graces of Jarmila Novotna’s Cherubino we are all familiar; it is a matter for note, however, that Eleanor Steber has progressed measurably in her portrayal of the Countess since she last did it, two seasons ago. Her command of the music last night was not quite so authoritative as it was a few weeks back, but it was a secure, sensitive job of vocalization, full in the mood of the abused character she plays. Moreover, Miss Steber is gradually becoming if not an accomplished actress, at least a work-manlike one; and it is evident that she is keenly concerned with self-improvement. No critic should ask more.

Tajo sounded a bit freer in voice last night than at any previous performance, a natural byproduct of increased familiarity with the stage, greater ease in his surroundings. Like most of the other members of the cast, including Fritz Busch, conductor, he impressed me as a little more subdued, less keyed-up than on the earlier occasion; but in his case, the change was also an improvement. There was a large audience and much applause, with six separate claques (or their local equivalents) working zealously on behalf of Mmes. Sayao, Steber and Novotna. Messrs. Tajo, Brownlee and Baccaloni. Everybody, in fact appeared to have one except, the stage director Herbert Graf.

Search by season: 1948-49

Search by title: Le Nozze di Figaro,

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