Guide
Key Word Search
Multi-Field Search
Browse
Met Opera on Demand
Sirius and XM
Repertory Report
Performers Report
Contacts
Met Opera Website
[Met Performance] CID:161190
Don Carlo
Metropolitan Opera House, Tue, December 2, 1952
In Italian
Don Carlo (34)
Giuseppe Verdi | Fran?ois Joseph M?ry/Camille du Locle list Italian text as translators?
Translation by Lauzi?res, Zanardini
Don Carlo received four performances this season.
Review 1:
Review of Robert Sabin in Musical America
Verdi?s ?Don Carlo,? revived in a superb new production two seasons ago, had its first performance of the current season on Dec. 2. It remains one of the most absorbing, as well as one of the handsomest, productions in the Metropolitan's repertoire, and the enthusiastic reception that the huge audience gave it on this occasion was heartening. Alberto Erede conducted the opera for the first time at the Metropolitan. Paul Schoeffier was heard for the first time there in the role of the Grand Inquisitor, and Laura Castellano in the role of Theobald, Elizabeth's Page. Otherwise the cast was familiar.
Mr. Erede grew firmer in his command of the orchestra as the evening progressed. The first act was extremely ragged and wavering in tempos, and as late as the auto-da-f? scene in Act II, Scene 2, his beat was so indecisive that the stage band was always a little ahead or behind the orchestra in its attacks. But he kept things moving, and he conducted Acts III and IV with dramatic vigor and a keen sense of the majesty of the music. One was willing to overlook technical weaknesses because of the eloquence of his interpretation. At times, the singers took the reins, but they gave of their best to him.
Both Richard Tucker, as Don Carlo, and Robert Merrill, as Rodrigo, were vocally rough in Act I, but as soon as their voices warmed they sang with exciting color and intensity. Don Carlo inspires both of these artists to their best work. Delia Rigal looked magnificent as Elizabeth, acted with great sensitivity, and sang beautifully in the last act. Elsewhere her production was wobbly and her tones unfocused. Mr. Schoeffler was forceful and imposing as the Grand Inquisitor. He was not always faithful to Verdi's dynamic markings in his singing, and he was too vigorous in his movement for so old a man, but the base of his conception was a good one to build upon.
Fedora Barbieri sang the role of the Princess of Eboli with considerably more refinement than she has in the past. Vocally, she took some time to warm up, but both her singing and acting were vivid, impetuous, and admirably suited to the character. Jerome Hines gave one of the most convincing performances of his career as Philip II, especially in the overwhelming monologue and scene with the Grand Inquisitor, in Act III, Scene 1. The role did not seem to lie entirely comfortably for his voice as yet, but the deep tones that often bother interpreters of the role held no problem for him. Miss Castellano sang her role charmingly, although she was somewhat stiff dramatically. The others in the cast were Lubomir Vichegonov, as a Friar ; Paul Franke, as the Count of Lerma; Emery Darcy, as a Royal Herald; Lucine Amara, as a Celestial Voice; and Tilda Morse, as the Countess of Aremberg. The chorus sang well throughout the evening.
Search by season: 1952-53
Search by title: Don Carlo,
Met careers
Don Carlo
Metropolitan Opera House, Tue, December 2, 1952
In Italian
Don Carlo (34)
Giuseppe Verdi | Fran?ois Joseph M?ry/Camille du Locle list Italian text as translators?
- Don Carlo
- Richard Tucker
- Elizabeth of Valois
- Delia Rigal
- Rodrigo
- Robert Merrill
- Princess Eboli
- Fedora Barbieri
- Philip II
- Jerome Hines
- Grand Inquisitor
- Paul Sch?ffler
- Celestial Voice
- Lucine Amara
- Friar
- Luben Vichey
- Tebaldo
- Laura Castellano
- Count of Lerma
- Paul Franke
- Countess of Aremberg
- Tilda Morse
- Herald
- Emery Darcy
- Conductor
- Alberto Erede
- Production
- Margaret Webster
- Designer
- Rolf G?rard
Translation by Lauzi?res, Zanardini
Don Carlo received four performances this season.
Review 1:
Review of Robert Sabin in Musical America
Verdi?s ?Don Carlo,? revived in a superb new production two seasons ago, had its first performance of the current season on Dec. 2. It remains one of the most absorbing, as well as one of the handsomest, productions in the Metropolitan's repertoire, and the enthusiastic reception that the huge audience gave it on this occasion was heartening. Alberto Erede conducted the opera for the first time at the Metropolitan. Paul Schoeffier was heard for the first time there in the role of the Grand Inquisitor, and Laura Castellano in the role of Theobald, Elizabeth's Page. Otherwise the cast was familiar.
Mr. Erede grew firmer in his command of the orchestra as the evening progressed. The first act was extremely ragged and wavering in tempos, and as late as the auto-da-f? scene in Act II, Scene 2, his beat was so indecisive that the stage band was always a little ahead or behind the orchestra in its attacks. But he kept things moving, and he conducted Acts III and IV with dramatic vigor and a keen sense of the majesty of the music. One was willing to overlook technical weaknesses because of the eloquence of his interpretation. At times, the singers took the reins, but they gave of their best to him.
Both Richard Tucker, as Don Carlo, and Robert Merrill, as Rodrigo, were vocally rough in Act I, but as soon as their voices warmed they sang with exciting color and intensity. Don Carlo inspires both of these artists to their best work. Delia Rigal looked magnificent as Elizabeth, acted with great sensitivity, and sang beautifully in the last act. Elsewhere her production was wobbly and her tones unfocused. Mr. Schoeffler was forceful and imposing as the Grand Inquisitor. He was not always faithful to Verdi's dynamic markings in his singing, and he was too vigorous in his movement for so old a man, but the base of his conception was a good one to build upon.
Fedora Barbieri sang the role of the Princess of Eboli with considerably more refinement than she has in the past. Vocally, she took some time to warm up, but both her singing and acting were vivid, impetuous, and admirably suited to the character. Jerome Hines gave one of the most convincing performances of his career as Philip II, especially in the overwhelming monologue and scene with the Grand Inquisitor, in Act III, Scene 1. The role did not seem to lie entirely comfortably for his voice as yet, but the deep tones that often bother interpreters of the role held no problem for him. Miss Castellano sang her role charmingly, although she was somewhat stiff dramatically. The others in the cast were Lubomir Vichegonov, as a Friar ; Paul Franke, as the Count of Lerma; Emery Darcy, as a Royal Herald; Lucine Amara, as a Celestial Voice; and Tilda Morse, as the Countess of Aremberg. The chorus sang well throughout the evening.
Search by season: 1952-53
Search by title: Don Carlo,
Met careers
- Alberto Erede [Conductor]
- Richard Tucker [Don Carlo]
- Delia Rigal [Elizabeth of Valois]
- Robert Merrill [Rodrigo]
- Fedora Barbieri [Princess Eboli]
- Jerome Hines [Philip II]
- Paul Sch?ffler [Grand Inquisitor]
- Lucine Amara [Celestial Voice]
- Luben Vichey [Friar]
- Laura Castellano [Tebaldo]
- Paul Franke [Count of Lerma]
- Tilda Morse [Countess of Aremberg]
- Emery Darcy [Herald]
- Margaret Webster [Production]
- Rolf G?rard [Designer]