[Met Performance] CID:106130
Don Giovanni {80} Matinee ed. Metropolitan Opera House: 11/7/1930.

(Review)


Metropolitan Opera House
November 7, 1930 Matinee


DON GIOVANNI {80}
Mozart-Da Ponte

Don Giovanni............Ezio Pinza
Donna Anna..............Rosa Ponselle
Don Ottavio.............Beniamino Gigli
Donna Elvira............Maria Müller
Leporello...............Pavel Ludikar
Zerlina.................Editha Fleischer
Masetto.................Louis D'Angelo
Commendatore............Léon Rothier

Conductor...............Tullio Serafin

Director................Wilhelm von Wymetal
Designer................Joseph Urban
Choreographer...........August Berger

Don Giovanni received four performances this season.

Review of Grena Bennett in the American

Superlative Cast Intones 'Don Giovanni' at Benefit

The Co-operative Committee of Big Sisters made a wise selection when the choice for its benefit fell on ''Don Giovanni," which was sung yesterday afternoon at the Metropolitan Opera House. Not only was Mozart's masterpiece presented by a superlative cast, but the receipts were large enough to show a net profit of nearly $4,000. This does not look like the hard times that one hears so much about.

The title role of the philandering Don was entrusted to Ezio Pinza, whose handsome face and figure and fine voice amply realized the irresistibility of the character. Rosa Ponselle, whose debut last year in the part of Donna Anna was long deferred because of illness, sang that role with the glorious quality and opulence that are so identified with her performances. Beniamino Gigli was Don Ottavio, and his share was as splendid an example of belcanto as one could hear these days when examples of that serene, smooth school are only too rare.

Editha Fleischer's Zerlina and Pavel Ludikar's Leporello were of equal musical merit. The sole new principal artist was Marie Müller, who sang Donna Elvira with spirit and artistry. Louis D'Angelo, the bumpkin Masetto, and Leon Rothier, as the Commandatore, were adequate in brief parts.

Tullio Serafin offered a masterly reading of the score, molding each phrase and episode with skill and a realization of effect. His support of the singers was sensitive and considerate and at the same time the auditor was given a clear and contenting version of Mozart's lovely measures. There was much and deserved applause.



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