[Met Tour] CID:150370



Mignon
Cleveland Public Auditorium, Cleveland, Ohio, Tue, April 5, 1949




Mignon (104)
Ambroise Thomas | Jules Barbier/Michel Carr?
Mignon
Ris? Stevens

Wilhelm Meister
Giuseppe Di Stefano

Philine
Patrice Munsel

Lothario
Jerome Hines

Fr?d?ric
Jean Madeira

La?rte
John Garris

Jarno
Osie Hawkins

Antonio
Lawrence Davidson

Dance
Alfred Corvino

Dance
William Murrill

Dance
Marina Svetlova

Dance
Leon Varkas


Conductor
Wilfred Pelletier







Review 1:

Elmore Bacon in the Cleveland News

Stevens, Munsel Shine in ‘Mignon,’ Cleveland’s Own

 

Cleveland’s own opera, “Mignon” sparkled, glittered and glowed last night before another capacity audience at Public Hall. And the top sparklers in the superb performance were Rise Stevens and Patrice Munsel, two famous lovely ladies of the Met roster.

We call it Cleveland’s own opera as the Northern Ohio Opera Association, sponsoring the Met series here, provided funds for refurbishing this comedy gem from the pen of Ambroise Thomas. Beautiful scenic features and gorgeous costumes provided in this way matched the fine vocalizing of the cast under the authoritative and discerning direction of Maestro Wilfred Pelletier.

The change from the dolor and stress of the [first night] “Lucia” was in every way refreshing. And we were given a “Mignon” whose life, action, color and romance bore a sense of reality.

Thomas created really beautiful music with which to drape this most improbable story. The romantic lyrical display was studded with coloratura fireworks of rare quality.

The masculine side of the cast was an excellent complement of the graces and lyric display provided by Misses Stevens and Munsel. Giuseppe Di Stefano gave a striking presentation of the role of Wilhelm Meister, the rich young man who went places. And his warm and expressive tenor was used with discretion. He commands plenty of power along with a most satisfying clarity.

 

Hines Is Superb

 

Jerome Hines revealed a bass voice that is superb. It is flexible, warm, certain as to pitch and golden at the top of its power. He gave the character of Lothario, the minstrel seeking his lost daughter, more of reality than one could expect from such a part.

Miss Stevens, whom we have heard last season as a fiery and voluptuous Carmen, gave a most exacting and vibrant performance of the name role last night. Her rich and powerful mezzo soprano put real feeling into the “Connais-tu le Pays.” She sang the aria with an emotional appeal and with such vocal power as to stir the big audience to prolonged applause.

Her delineation of the girl, stolen and reared by gypsies, and whose freedom was purchased by the young Wilhelm, was fine artistry. Her acting was convincing. She and Di Stefano put real emotion into their duet in the dressing room. Maestro Pelletier, and the orchestra gave the romantic aria sung by Wilhelm just the right amount of background and the Si Stefano tenor made it one of the vocal highlights of the evening.

Miss Stevens and Di Stefano, in the closing scene, gave a fine display of vocal art in an emotional duet that was thrilling.

 

Munsel Sparkles

Miss Munsel furnished the coloratura fireworks of the evening. While at times her voice in the middle register had little carrying power, she trilled off the coloratura airs with fluency, clarity and accuracy of pitch.

The most colorful and striking episode in the opera was the close of the second act in the castle park where Philine’s company of stage players were giving a performance inside. The entire chorus trooped to the front of the stage, arrayed in gorgeous costumes. Philine in her hoop-skirted gown of white and dazzling gems appeared and sang the famous aria “Je Suis Titania.” Her sparkling coloratura art was heard at its best. It was a triumph for her which brought her prolonged applause. The brilliant gems of this vocal display carried throughout the huge hall perfectly.

Jean Browning-Madeira, who last sang in Cleveland with the San Carlo Opera, and with good success, revealed not only a fine voice expertly used, but fine acting in her part as Frederic. She received enthusiastic applause following her aria in the dressing room scene.

Among the other fine performances of the evening was that of tenor John Garris as Leartes, the comedian friend of Philene. And Osie Hawkins was a properly vindictive gypsy chief. Lawrence Davidson was excellent as Antonio.

Maestro Pelletier stepped the performance along expertly and again the chorus, especially in the first act, sang with fine expressive shading. The gypsy dance interlude in the first act was a colorful and diverting feature presented by Marina Svetlov, Leon Varkas, Alfredo Corvino, William Morrill and the members of the ballet.

 



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