Guide
Key Word Search
Multi-Field Search
Browse
Met Opera on Demand
Sirius and XM
Repertory Report
Performers Report
Contacts
Met Opera Website
Gianni Schicchi
Salome
Metropolitan Opera House, Thu, January 26, 1950
Debut : Paul Sch?ffler
Gianni Schicchi (47)
Giacomo Puccini | Giovacchino Forzano
- Gianni Schicchi
- Salvatore Baccaloni
- Lauretta
- Nadine Conner
- Rinuccio
- Giuseppe Di Stefano
- Nella
- Paula Lenchner
- Ciesca
- Thelma Votipka
- Zita
- Claramae Turner
- Gherardo
- Alessio De Paolis
- Betto
- George Cehanovsky
- Marco
- Gerhard Pechner
- Simone
- Virgilio Lazzari
- Gherardino
- Reginald Tonry, Jr.
- Spinelloccio
- Melchiorre Luise
- Amantio
- Lorenzo Alvary
- Pinellino
- Osie Hawkins
- Guccio
- John Baker
- Conductor
- Giuseppe Antonicelli
- Set Designer
- Joseph Novak
Salome (32)
Richard Strauss | Oscar Wilde
- Salome
- Astrid Varnay
- Herod
- Set Svanholm
- Herodias
- Kerstin Thorborg
- Jochanaan
- Paul Sch?ffler [Debut]
- Narraboth
- Brian Sullivan
- Page
- Hertha Glaz
- Jew
- Leslie Chabay
- Jew
- Thomas Hayward
- Jew
- Paul Franke
- Jew
- Gerhard Pechner
- Nazarene
- Dezs? Ernster
- Nazarene
- Emery Darcy
- Soldier
- Jerome Hines
- Soldier
- Philip Kinsman
- Cappadocian
- Osie Hawkins
- Slave
- Lillian Raymondi
- Conductor
- Fritz Reiner
- Director
- Herbert Graf
- Set Designer
- Donald Oenslager
Gianni Schicchi received three performances this season.
SALOME {32}
R. Strauss-O. Wilde/Lachmann
Gianni Schicchi received three performances this season.
Paul Sch?ffler's last name was sometimes spelled Schoeffler.
Review 1:
Review of Olin Downes in The New York Times
VARNAY IS SALOME AT METROPOLITAN
Schoeffler Makes Bow With Company in Leading Role - 'Gianni Schicchi' Heard
There were two important new figures in the cast when "Salome" was given for the first time this season last night at the Metropolitan, One was Astrid Varnay's Salome, the part taken by her for the first time on this stage, The other was the debut as Jokanaan of Paul Schoeffler, a magnificent accomplishment.
The appearance of Miss Varnay, who had Elektra-fied the town-if we may be excused-by her wonderful performance in that opera given in concert form on a recent date, was eagerly awaited. She made a fine impression for the range and opulence of the voice, the color she gave her lines, the originality and thoughtfulness of her dramatic conception. But we doubt if her Salome would nearly measure to her Elektra if she could be in that part, also, on the stage.
Elektra is the grander, the more monumental role of the two, and the best suited to her style. Her representation of Salome moves too heavily, and needs more swiftness and mobility. Nor is it fortunately costumed, nor is the dance all that can be desired of this difficult moment in a very taxing impersonation.
Remarkable in Early Scenes
We found Miss Varnay most remarkable in the earlier scenes which she built up admirably in the interchanges with Jokanaan, now sensuous and pleading, now mocking, sinister, sardonic; including the moment of the prophet's descent into the cistern, and frenzy of her pantomime around the cistern, while the orchestra erupts like a volcano.
The eloquence of the later scenes was in the voice rather than action. The final apostrophe was sung superbly, with possibly more realism than was necessary in the mise en sc?ne.
Mr. Schoeffler's Jokanaan was the best representation of this part that we have seen, For once the figure of the prophet, with the wild eyes and the few simple and grand gestures, was something else than an Indian figure in front of a cigar store or an athlete standing up for inspection and showing his muscles. This was fanaticism, nobility too. Mr. Schoeffler sang the music with a compelling sonority and significance, which is a particular compliment, since Jokanaan's lines are more pontifical than emotional.
The playing of the orchestra under Mr. Reiner was better than ever, If it sometimes overpowered Miss Varnay it is understandable, indeed almost unavoidable if the full meaning of the orchestra's commentary is to reach the listener. The opera is over-balanced in its orchestral part. It is a symphonic music-drama.
"Salome" was preceded by one of the best ensembles and most lively and finished interpretations, in the comedic spirit, that the Metropolitan gives. Baccaloni's Schicchi was the soul of the plot, droll in every look and gesture, sung with booming resonance, enunciated as clearly as it was pantomimed for the understanding of the audience. Mr. Baccaloni's short .....
Search by season: 1949-50
Search by title: Gianni Schicchi, Salome,
Met careers
- Giuseppe Antonicelli [Conductor]
- Salvatore Baccaloni [Gianni Schicchi]
- Nadine Conner [Lauretta]
- Giuseppe Di Stefano [Rinuccio]
- Paula Lenchner [Nella]
- Thelma Votipka [Ciesca]
- Claramae Turner [Zita]
- Alessio De Paolis [Gherardo]
- George Cehanovsky [Betto]
- Gerhard Pechner [Marco]
- Virgilio Lazzari [Simone]
- Reginald Tonry, Jr. [Gherardino]
- Melchiorre Luise [Spinelloccio]
- Lorenzo Alvary [Amantio]
- Osie Hawkins [Pinellino]
- John Baker [Guccio]
- Joseph Novak [Set Designer]
- Fritz Reiner [Conductor]
- Astrid Varnay [Salome]
- Set Svanholm [Herod]
- Kerstin Thorborg [Herodias]
- Paul Sch?ffler [Jochanaan]
- Brian Sullivan [Narraboth]
- Hertha Glaz [Page]
- Leslie Chabay [Jew]
- Thomas Hayward [Jew]
- Alessio De Paolis [Jew]
- Paul Franke [Jew]
- Gerhard Pechner [Jew]
- Dezs? Ernster [Nazarene]
- Emery Darcy [Nazarene]
- Jerome Hines [Soldier]
- Philip Kinsman [Soldier]
- Osie Hawkins [Cappadocian]
- Lillian Raymondi [Slave]
- Herbert Graf [Director]
- Donald Oenslager [Set Designer]