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[Met Performance] CID:197150
La Sonnambula
Metropolitan Opera House, Thu, February 6, 1964
La Sonnambula (45)
Vincenzo Bellini | Felice Romani
Review 1:
Review of John Ardoin in Musical America
It was Roberta Peters' turn to have a go at the role of Amina in "La Sonnambula" on February 6. In most respects her singing and portrayal were good. Her middle voice was lovely and expressive, though her top was generally thin and straight. Her vocal gymnastics in "Come per me" seemed somewhat labored, though she did release some exciting staccatos in "Ah! non giunge." Miss Peters made a valiant try for a top F at the very end of the opera and missed, the only real blemish to her performance. She looked wonderful on stage and moved in an appropriately dreamlike, childlike way. Happily she and Nicolai Gedda, who was in superb form, decided to end the first-act duet with the traditional high C, which rounded off the act nicely (Joan Sutherland, for some strange reason, preferred the lower ending).
Another first was Gladys Kriese as Lisa. She was a statuesque and rich-voiced Mother (I do wish the Met could have found for her a costume that was more becoming and fit better).
Search by season: 1963-64
Search by title: La Sonnambula,
Met careers
La Sonnambula
Metropolitan Opera House, Thu, February 6, 1964
La Sonnambula (45)
Vincenzo Bellini | Felice Romani
- Amina
- Roberta Peters
- Elvino
- Nicolai Gedda
- Rodolfo
- Giorgio Tozzi
- Lisa
- Jeanette Scovotti
- Teresa
- Gladys Kriese
- Alessio
- Louis Sgarro
- Notary
- Arthur Graham
- Conductor
- Martin Rich
Review 1:
Review of John Ardoin in Musical America
It was Roberta Peters' turn to have a go at the role of Amina in "La Sonnambula" on February 6. In most respects her singing and portrayal were good. Her middle voice was lovely and expressive, though her top was generally thin and straight. Her vocal gymnastics in "Come per me" seemed somewhat labored, though she did release some exciting staccatos in "Ah! non giunge." Miss Peters made a valiant try for a top F at the very end of the opera and missed, the only real blemish to her performance. She looked wonderful on stage and moved in an appropriately dreamlike, childlike way. Happily she and Nicolai Gedda, who was in superb form, decided to end the first-act duet with the traditional high C, which rounded off the act nicely (Joan Sutherland, for some strange reason, preferred the lower ending).
Another first was Gladys Kriese as Lisa. She was a statuesque and rich-voiced Mother (I do wish the Met could have found for her a costume that was more becoming and fit better).
Search by season: 1963-64
Search by title: La Sonnambula,
Met careers