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[Met Performance] CID:158510
Le Nozze di Figaro
Metropolitan Opera House, Fri, January 4, 1952
Le Nozze di Figaro (124)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
Review 1:
Review of Quaintance Eaton in Musical America
Several changes in cast helped make this performance something less than perfection as far as accuracy, ensemble, and polish were concerned, yet it had its measure of spirit. In fact, for animation and a sense of alertness it was far ahead of the last previous presentation. Although they had no stage rehearsals ? and few of any other kind ? Hilde Gueden as Susanna and Martial Singher as Figaro were decidedly on the credit side. The handsome soprano sang the role for the first time here, and the first time anywhere in Italian. Not as petite as many other Susannas, she was stage-wise and graceful, and all she needed to be thoroughly satisfactory was more rehearsal. Under the circumstances, her vocalization was occasionally tentative, although it was always accurate in pitch, pretty in quality, and musical in phrasing.
The experienced Mr. Singher, appearing in his role for the first time this season, was a treasure as Figaro, for even if his voice was not always rich it was always serviceable and expressive, and his acting was as assured as any in the company. His was a busy Figaro, with a great deal of gesture and movement, but none of it was meaningless, and most of it was communicative and amusing. If this cast could stay together a few times, we might see a restoration of the stylish charm that formerly marked the production. As it was, there were too many shipshod moments.
Three other first times this season were Herta Glaz as Marcellina, Gerhard Pechner as Bartolo, and Genevieve Warner as Barbarina. They were all excellent, although the comic pair were somewhat more subdued than others have been. Miss Warner sang well and acted with the proper coyness.
Victoria de los Angeles as the Countess had a rather thin vocal evening, for although her art was as evident as ever, her voice was occasionally threadlike and edgy. Mildred Miller was again a delightful Cherubino, and John Brownlee acted the role of the Count with his usual assurance and competence. A special word should be said for the comedy sense of Lawrence Davidson as Antonio. Others in the cast were Alessio de Paolis, Gabor Carelli, Paula Lenchner, and Margaret Roggero. Fritz Reiner held the orchestral and stage forces together in the main with a firm grip and propulsive spirit.
Search by season: 1951-52
Search by title: Le Nozze di Figaro,
Met careers
Le Nozze di Figaro
Metropolitan Opera House, Fri, January 4, 1952
Le Nozze di Figaro (124)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
- Figaro
- Martial Singher
- Susanna
- Hilde G?den
- Count Almaviva
- John Brownlee
- Countess Almaviva
- Victoria de los Angeles
- Cherubino
- Mildred Miller
- Dr. Bartolo
- Gerhard Pechner
- Marcellina
- Hertha Glaz
- Don Basilio
- Alessio De Paolis
- Antonio
- Lawrence Davidson
- Barbarina
- Genevieve Warner
- Don Curzio
- Gabor Carelli
- Peasant
- Paula Lenchner
- Peasant
- Margaret Roggero
- Conductor
- Fritz Reiner
Review 1:
Review of Quaintance Eaton in Musical America
Several changes in cast helped make this performance something less than perfection as far as accuracy, ensemble, and polish were concerned, yet it had its measure of spirit. In fact, for animation and a sense of alertness it was far ahead of the last previous presentation. Although they had no stage rehearsals ? and few of any other kind ? Hilde Gueden as Susanna and Martial Singher as Figaro were decidedly on the credit side. The handsome soprano sang the role for the first time here, and the first time anywhere in Italian. Not as petite as many other Susannas, she was stage-wise and graceful, and all she needed to be thoroughly satisfactory was more rehearsal. Under the circumstances, her vocalization was occasionally tentative, although it was always accurate in pitch, pretty in quality, and musical in phrasing.
The experienced Mr. Singher, appearing in his role for the first time this season, was a treasure as Figaro, for even if his voice was not always rich it was always serviceable and expressive, and his acting was as assured as any in the company. His was a busy Figaro, with a great deal of gesture and movement, but none of it was meaningless, and most of it was communicative and amusing. If this cast could stay together a few times, we might see a restoration of the stylish charm that formerly marked the production. As it was, there were too many shipshod moments.
Three other first times this season were Herta Glaz as Marcellina, Gerhard Pechner as Bartolo, and Genevieve Warner as Barbarina. They were all excellent, although the comic pair were somewhat more subdued than others have been. Miss Warner sang well and acted with the proper coyness.
Victoria de los Angeles as the Countess had a rather thin vocal evening, for although her art was as evident as ever, her voice was occasionally threadlike and edgy. Mildred Miller was again a delightful Cherubino, and John Brownlee acted the role of the Count with his usual assurance and competence. A special word should be said for the comedy sense of Lawrence Davidson as Antonio. Others in the cast were Alessio de Paolis, Gabor Carelli, Paula Lenchner, and Margaret Roggero. Fritz Reiner held the orchestral and stage forces together in the main with a firm grip and propulsive spirit.
Search by season: 1951-52
Search by title: Le Nozze di Figaro,
Met careers
- Fritz Reiner [Conductor]
- Martial Singher [Figaro]
- Hilde G?den [Susanna]
- John Brownlee [Count Almaviva]
- Victoria de los Angeles [Countess Almaviva]
- Mildred Miller [Cherubino]
- Gerhard Pechner [Dr. Bartolo]
- Hertha Glaz [Marcellina]
- Alessio De Paolis [Don Basilio]
- Lawrence Davidson [Antonio]
- Genevieve Warner [Barbarina]
- Gabor Carelli [Don Curzio]
- Paula Lenchner [Peasant]
- Margaret Roggero [Peasant]