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Placards in the lobby announced in large black type that Licia Albanese would be a last minute substitution for the ailing Dorothy Kirsten, who was originally scheduled for the role of Violetta.

With all due respect to Miss Kirsten’s fine qualities as a vocalist, the sudden switch was our gain, for Mme. Albanese is without any discussion, the best Violetta the Metropolitan has had since the days of Lucrezia Bori.

Mme. Albanese hardly sings the runs and fioritura of “Sempre libera” as the great mistresses of coloratura singing did (apparently) at the turn of the century, but she vividly suggests the feverish gayety the “eat, drink and be merry for tomorrow we die” quality of the gay social butterfly of the first act.

The soprano improved with each succeeding act, until she reached a climax of the utmost pathos, self-dedication and communication in the final scenes of Violetta’s death.

Mme. Albanese’s voice is perhaps not a great one, but, at its best, it is of a silvery and appealing sweetness as well as of a pulsating intensity in moments of stress. Rarely, of late, has she sung as well as she did in the final act.

The audience, to a man, was fully aware of the charming singing-actress’s accomplishment, and responded by giving her a personal ovation at the opera’s poignant close.

Mme. Albanese was ably companioned by two of the Metropolitan’s most distinguished male singers last night – Leonard Warren and Jan Peerce.

Mr. Warren has a really great voice, and, what is more, he sings beautifully. He uses what is undoubtedly the finest operatic baritone voice in America today with rare skill and taste. His performance last night was one of great composure and dignity and quite in the grand manner. That he scored an ovation after a memorable “Di Provenza il mar” goes without saying.

Mr. Peerce in the most ungrateful role of the three principals used his light voice with regard for the vocal line and for the style of the music. He also caught the sincerity of this particular performance, so that his tones formed an integral part of the opera’s touching finale.

Giuseppe Antonicelli conducted with authority and in a sensitive manner, that made this “Traviata” his outstanding contribution in Philadelphia.

Incidentally, this was Mme. Albanese’s first Violetta in Philadelphia in her ten seasons with the Metropolitan. May we have many more!

General Manager Edward Johnson appeared in front of the curtain between the third and last acts to thank the guarantors and the executive committee. He announced that the guarantee fund had remained intact due to the public’s response, and that eight performances by the Metrop9litan were scheduled for next season.

Search by season: 1948-49

Search by title: La Traviata,

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