[Met Performance] CID:302670

New Production

Semiramide
Metropolitan Opera House, Fri, November 30, 1990

Debut : Lella Cuberli, Youngok Shin, Chris Merritt




Semiramide (10)
Gioachino Rossini | Gaetano Rossi
Semiramide
Lella Cuberli [Debut]

Arsace
Marilyn Horne

Assur
Samuel Ramey

Azema
Youngok Shin [Debut]

Idreno
Chris Merritt [Debut]

Oroe
John Cheek

Nino's Ghost
Jeffrey Wells

Mitrane
Michael Forest


Conductor
James Conlon


Director
John Copley

Set Designer
John Conklin

Costume Designer
Michael Stennett

Lighting Designer
Gil Wechsler





Semiramide received nine performances this season.

FUNDING:
Production a gift of The Lila Acheson and DeWitt Wallace Fund for Lincoln Center

Review 1:

Review in Musical Opinion [UK] by Florence Stevenson

"Semiramide," the Met's second new production of the season, had a British production team and an American cast. At the performance I attended in the 'gods', Lelia Cuberli made her Met debut in the title-role; a later performance, seen from press seats in the stalls, was supposed to have June Anderson, who was announced as "recovering from the flu" and who withdrew after the First Act, being replaced by Cuberli in the Second. Cuberli displayed a beautiful voice, not quite large enough to fill this huge theatre, and had the looks and bearing of a tragic actress. It would not be fair to judge Anderson, though she showed no sign of illness and sang her coloratura brilliantly; friends who heard her at other performances thought she had more impact and volume than Cuberli, if less sheer beauty.

There was plenty of beauty its in the rather static, stylized production by John Copley, with elegant sliding panels in reds and golds by John Conklin and elaborate 18th-century classical costumes by Michael Stennett. The ruined top of the permanent arch could not be seen from the 'gods', though some broken pillars in the Second Act could; this was that rarity, a production which I thought actually looked better from on high. I do not share the view of several critics that the performance was dull, or that ancient Babylon through 18th-century eyes, reinterpreted by a 20th-century designer, is a silly conceit, already seen at the Met in various productions by Ponnelle. The designers provided a series of lovely frames for what is essentially a glorious concert of bel canto. The most "bel" of all came from Samuel Ramey, who made his apparition scene highly dramatic, as well as a feast of sound - Rossini's music is almost Verdian here - suggesting also that he might soon by a first-rate Boris. Incidentally, he spent most of the Second Act displaying his splendid torso bare-chested, an odd way to approach the Queen! Is it in his contract that he strips in every role in which it is conceivably possible?

Marilyn Horne may just be credible as a mature General, but not as Cuberli's - or Anderson's - son. However her wide vocal range and her confident, strong singing -especially relaxed and effective at the second performance I heard - more than compensate for visual implausibility. Chris Merritt neither looks nor sounds very convincing; he can manage most of the high notes, only occasionally making a really painful noise, but his voice is never really attractive. Some people preferred Stanford Olsen, who alternated with him. I would have preferred Bruce Ford, who replaced Merritt last summer in Pesaro's "Ricciardo e Zoraide." James Conlon, the conductor, kept things moving, got lovely playing from the orchestra, and a well deserved ovation.



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