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Translation by Valency
La P?richole received five performances this season.
Ritchard staged the Circus Ballet in Act I; Solov did all other choreography.

Review 1:

Review of Irving Kolodin in the Saturday

Much of the original zest and aria spirit of Offenbach's "La Perichole" was present when it returned in holiday spirit to the Metropolitan after an absence of several seasons. Some of this was due to the presence, in their original roles, of Cyril Ritchard, who brought the comedy to life in the first place, and Theodor Uppman, a practically perfect Paquillo. But no less of it could be attributed to the adroit casting of Teresa Stratas as Perichole for the first time, and the choice of Franz Allers to conduct it.

One could argue the relative merits of their contributions, but as Alters was present even when Stratas was not, the priority, on balance, should be his for the light-hearted as well as light-handed way in which he shaped the melodies and pointed the rhythms that underlie the work's enduring appeal.

As for the lady herself, Stratas is certainly the Metropolitan's most beguiling since Patrice Munsel. The new performer's quality is quite different, but not less appropriate, and when she has refined her way of playing it to throw away more of the comedy on which she put her emphasis rather heavily this time, she could be a complete delight. A special factor in her favor is access to the lower range of sound (for which the part was originally conceived) none of her Metropolitan predecessors possessed. With or without it, Stratas would be a lively adornment of any comedy part - a mode of performance that suits her even more than the Lisa in "Pique Dame" she was singing at the start of the season. Donald Gramm merits mention for a fling at Don Pedro that underscored the range of his abilities, too.

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