[Met Tour] CID:150760



Lucia di Lammermoor
Denver Auditorium, Denver, Colorado, Tue, May 10, 1949 Matinee





Lucia di Lammermoor (246)
Gaetano Donizetti | Salvadore Cammarano
Lucia
Patrice Munsel

Edgardo
Jan Peerce

Enrico
Frank Guarrera

Raimondo
Nicola Moscona

Normanno
Paul Franke

Alisa
Thelma Votipka

Arturo
Leslie Chabay


Conductor
Pietro Cimara







Review 1:

Allen Young in the Denver Post

Met Performance Tops in Singing, Acting

 

“Lucia di Lammermoor” is the opera that has the Mad Scene and the Sextet. Since a coloratura of charm and ability and a group of principals richly endowed vocally participated in the Tuesday matinee performance of the Donizetti opera there was a good deal about which to be pleased.

 

The theatrically sad story of Lucy of the Lammermoors, who Juliet-like loves a man of an enemy tribe, must surprise many by dating back to the Donizetti composition in 1835. The music must not be considered great to afford musical entertainment. In its melodic working out of the irresistible tale of doomed love the opera wins out over certain uneasy dramatic moments.

 

Patrice Munsel as the doomed heroine is very nearly as delectable a figure as can be seen on the operatic stage. Gowned in deep red velvet, in an ivory-satin wedding gown, and a flimsy night garment, Miss Munsel portrayed with simplicity and freshness a role which offers bushels of melodramatics. Her singing was agile, accurate, and for the most part her tones were full. The lower range is weak, the vocal quality is reedy and girlish, lacking in color. In the coloratura passages her work was pleasing, as much so for its promise as for the actual singing.

 

Jan Peerce is always dependable, steady and foursquare. Patiently awaiting the only real passages of interest for his role of Edgar, Peerce finally found the opportunity in the final scene for fervently delivered passages, opulent tones and superb phrasing which gave his role life.

 

Frank Guarrera, looking like an angry spaniel in his red wig, showed a voice of resonance and a dominant stage personality which made of his thinly written role a character of interest. Nicola Moscona was impressive, especially in his recital of the opera’s tragic events. Leslie Chabay’s full, firmly based tenor was pleasing although his stage presence was cold. Thelma Votipka sang her brief role worthily.

 

The chorus was a complete delight, and the orchestra played the intermezzo with pleasing lightness. Pietro Cimara’s conducting set a good pace which an alert group met with ease.



Search by season: 1948-49

Search by title: Lucia di Lammermoor,



Met careers