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[Met Performance] CID:173030



Soir?e
Don Pasquale
Metropolitan Opera House, Fri, November 2, 1956









Review 1:

Review of Robert Sabin in the November 15, 1956 issue of Musical America

The Metropolitan's double bill of Zachary Solov's ballet "Soir?e" and Donizetti's "Don Pasquale" proved even more zestful this season than last. Thomas Schippers was just as alert and sensitive as before, but more at ease on the podium. He is a shining proof of the fact that the United States can produce first-rate conductors. What we need is more encouragement and opportunity for them.

Two new dancers were seen in "Soiree." Pierre Lacotte, of Paris had the leading role of the Boy, in his Metropolitan Opera Ballet debut. On the basis of this performance, and with all due allowances for debut nervousness, it was difficult to see why he had been imported. Apart from smooth pirouettes, his technique was both weak and faulty in style. His beats were sticky and imprecise; his arms and shoulders were stiff; his elevation was not good; and he did not partner Mary Ellen Moylan securely or with the air of gallantry required by his role. Vitorio Korjhan, as the Spaniard, was also rather insipid (although in this case the choreography must be blamed for some of the ineffectiveness).

Miss Moylan, I am happy to state, was in superb form, after a tense beginning. Mr. Solov has improved her choreography in several passages. In her pas de deux with Mr. Lacotte near the close, and even more notably in the variations with the Boy Guests, Miss Moylan danced with a tensile strength, a lightness and graceful charm that were always dominated by a fine sense of style. She is a distinguished artist in everything she does.

The corps was insecure and off the beat at the beginning but improved notably as the ballet progressed. As a whole, it gave a bright and engaging performance and one that should encourage the Metropolitan to give it further opportunities. Mr. Schippers captured the wit and epigrammatic quality of the music, Benjamin Britten's Rossini. "Soirees Musicales" after Rossini. He was not as completely in rapport with his dancers as he was later with his singers, but this may well have been owing to less rehearsal with them.

Robert Merrill as Malatesta

The performance of "Don Pasquale" was one of the most delectable that the Metropolitan has given in many years. So buoyant was the orchestra under Mr. Schippers that the audience gave it a special ovation after the overture. Robert Merrill was the newcomer to the cast, singing the role of Dr. Malatesta for the first time at the Metropolitan. Not only was his diction admirable, but he scaled his powerful voice carefully to the others in ensembles, and acted with a keen sense of the general style of the production. At times, Mr. Merrill has been one of the rough diamonds of the company, but on this occasion he boasted polish as well as exciting vocalism.

Equally delightful was Fernando Corena in the title role. Even though Dino Yannopoulos has put a heavier accent on clowning this year, Mr. Corena never lost the thread of his characterization and his Don Pasquale had deeper tones than mere bumptiousness. Both in solos and ensembles his voice was fresh and perfectly controlled.

Hi1de G?den looked stunning, sang beautifully and carried off the role of Norina with precisely the right touch of stylization. She never forced her voice and, if it did not always come through in the larger ensembles, it never failed to emerge where its individual shade of color needed to dominate. In her solo arias and in the duets, the tone was jewel-like in purity and brightness of hue.

Cesare Valletti has never sung with a more ravishing quality of voice or with a more limpid lyricism. During the serenade, "Com' e gentil," no one ventured to breathe and the heartfelt "bravo" that was uttered afterwards by one unmistakably Italian member of the audience must have been echoed by everyone. Like the other artists, Mr. Valletti was quite as solicitous of Donizetti's marvelous ensembles as he was of his solo arias.

Charles Anthony took the minor role of the Notary for the first time at the Metropolitan. The chorus was expert; and the costumes, sets and revolving stage of Wolfgang Roth were as piquant as ever in their effect.

Search by season: 1956-57

Search by title: Soir?e, Don Pasquale,



Met careers

• Thomas Schippers [Conductor]
• Mary Ellen Moylan [Girl]
• Pierre Lacotte [Boy]
• Margaret Black [Hostess]
• Vittorio Korjhan [Spaniard]
• Fernando Corena [Don Pasquale]
• Hilde G?den [Norina]
• Cesare Valletti [Ernesto]
• Robert Merrill [Dr. Malatesta]
• Charles Anthony [Notary]