[Met Tour] CID:165820



La Traviata
State Fair Auditorium, Dallas, Texas, Sun, May 9, 1954 Matinee





La Traviata (376)
Giuseppe Verdi | Francesco Maria Piave
Violetta
Eleanor Steber

Alfredo
Richard Tucker

Germont
Leonard Warren

Flora
Heidi Krall

Gastone
Paul Franke

Baron Douphol
George Cehanovsky

Marquis D'Obigny
Algerd Brazis

Dr. Grenvil
Osie Hawkins

Annina
Maria Leone

Dance
Viola Maiorca

Dance
Zebra Nevins

Dance
Roland Vazquez


Conductor
Fausto Cleva







Review 1:

Rual Askew in the Dallas News
Verdi?s ?La Traviata? given Golden Estate

The second over-capacity crowd in a row for Dallas? current orgy of grand opera found itself spellbound Sunday afternoon by the rich-voiced outpouring of Verdi?s ?La Traviata? in State Fair Auditorium. From its principals and on through many of its haunting effects the performance found the heart of the Italian master?s most spontaneous creation.


An indestructible product of Verdi?s ?middle? period, ?Traviata? is also the peak of Verdian freshness and has lilted its way into the world?s operatic hit-parade. No matter that the orchestration tends to oom-pah-pah on occasion or languish wanly during certain of its lyric outbursts, for at no time before its creation of after, for that matter, was Verdi?s melodic inspiration quite to achieve such universal sentiment.


If a phrase must be found to tag the matin?e?s vocal achievements it would have to be ?golden voiced,? for the casting of Eleanor Steber, Richard Tucker and Leonard Warren in stellar roles united three of the Metropolitan?s most potent artists to masterly effect.


If memories inserted reminders of silvery-voiced Violettas from the past, Miss Steber?s portrayal of the title role cleared a new vista. From the splendid evidences Sunday afternoon, the Steber Violetta, with a bit more tempering will find its inherent greatness.


Act I?s demanding vocal intensities were met and blended tellingly by the soprano with an acting performance that gave swift notice that here was a more than superficial heroine, courtesan or no, and one to be reckoned with as a credible dramatic force.


The Steber Violetta moved dominantly from the early ?joie de vivre? of an elegant supper party to the doubting discovery at the conclusion of the first act that she is seized by an authentic passion.


As the object of her affections, Richard Tucker?s Alfredo rang out its famed Brindisi, ?Libiamo,? in splendid estate for the afternoon?s first ovation. The famed American tenor next voiced memorably that classic declaration of love, ?Di quell?amor,? for a second salvo of applause and an atmosphere of expectation form Violetta?s challenging brace of arias, the musing ?Ah! fors? e lui? and its brilliant aftermath ?Sempre libera.?


Miss Steber?s careful control of both selections of one of the most beloved scenes for solo soprano in the literature resulted in a strength of dramatic effect by a big voice expertly employed. Its coloratura detail was watchfully on the button, but broad rather than frisky. Her success, on her own absorbing terms, was warmly hailed.


Act II, set in the idyllic country nest of the lovers, added in rich measure the already historic baritone of Leonard Warren in his first appearance of the day as Giorgio Germont, Alfredo?s disapproving father. The extended musical dialogue between Violetta and the elder Germont, among the score?s most endearing pages, included Miss Steber?s moving ?Ditte alla giovine si bella e pura? and Mr. Warren?s over-solicitous phrasing of ?Di Provenza il mar.?


Whether the languorous tempo attributed to Mr. Warren or to Fausto Cleva, the conductor, we found it slow, though the ensuing ovation revealed strong contrary opinion.


Throughout Acts II and IV the tension of the drama consolidated around its favorite highpoints, Alfredo?s bitter denunciation of Violetta at Flora Bervoix? terrace ball, and the brilliant ensemble singing by principals and chorus that close the third act. There must be special mention of the gypsy dances here, for Zachary Solov?s feasible choreography in the midst of skittish accompaniment wrought by Verdi and the incisive solo work by Viola Majorca and Roland Vasquez.


The concluding act, prefaced by the sadly remindful prelude, arched strongly to its inevitable and still gripping finale, with a poignant ?Addio del passato? by Miss Steber and the even more touching ?Parigi, o cara,? wherein the fill-fated lovers plan a future happiness that will never be.


In addition to the memorable presences of Miss Steber, Mr. Tucker and Mr. Warren, the performance offered more creditable voicings than we can recall for Flora, Annina and the Marquis D?Obigny in Heidi Krall (a real comer), Maria Leone and Algerd Brazis. Among the returnees, George Cehanovsky (Baron Duphol, Osie Hawkins (Doctor Grenvil) and Paul Franke (Gastone) were staunch contributors.


In Saturday?s splendid hearing the truth became more evident than ever: there can?t be one performance too many of ?Traviata?.



Search by season: 1953-54

Search by title: La Traviata,



Met careers