[Met Performance] CID:114650
World Stage Premiere
Merry Mount {1} Matinee Broadcast ed. Metropolitan Opera House: 02/10/1934., Broadcast
 (World Stage Premiere)
(Debut: Filomena Pangoni
Broadcast
Review)


Metropolitan Opera House
February 10, 1934 Matinee Broadcast

World Stage Premiere


MERRY MOUNT {1}
Hanson-R. L. Stokes

Lady Marigold Sandys....Göta Ljungberg
Sir Gower Lackland......Edward Johnson
Wrestling Bradford......Lawrence Tibbett
Plentiful Tewke.........Gladys Swarthout
Praise God Tewke........Louis D'Angelo
Myles Brodrib...........Alfredo Gandolfi
Peregrine Brodrib.......Helen Gleason
Love Brewster...........Lillian Clark
Jack Prence.............Marek Windheim
Thomas Morton...........George Cehanovsky
Jewel Scrooby...........Millo Picco
Desire Annable..........Irra Petina
Jonathan Banks..........Giordano Paltrinieri
Faint Not Tinker........Arnold Gabor
Bridget Crackston.......Henriette Wakefield
Puritan.................Max Altglass
Puritan.................Pompilio Malatesta
Samoset.................James Wolfe
Dance...................Rita De Leporte

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

Director................Wilhelm Von Wymetal Jr.
Set Designer............Jo Mielziner
Costume Designer........Filomena Pangoni [Debut]
Choreographer...........Rosina Galli

[Merry Mount received nine performances in one season. Hanson's opera had been presented in
concert form at Ann Arbor, Michigan, on May 20, 1933.]


Review by Pitts Sanborn in the New York World-Telegram:

Fifteenth of the American works presented by Mr. Gatti-Casazza during his Metropolitan consulship, "Merry Mount", which attracted a vast and expectant audience Saturday afternoon, must be exceedingly gratifying to those musical patriots who insist on the one hundred per cent. It is not only American in authorship, but likewise in theme. Mr. Richard L. Stokes, the librettist, and Dr. Howard Hanson, the composer, both native-born have selected as their subject the brief invasion of the pious shores of Massachusetts Bay by some roistering cavaliers, who set up a big, bad Maypole and dance around it like unregenerate heathen.

Dr. Hanson's music is most effective in the choral passages, which are plentiful. Take the chant of the men within the church after the impressive choral prelude. True there is oftener the suggestion of Moussorgsky than of Massachusetts, but who would be so ungracious as to object to that? Nor has Dr. Hanson failed to assemble lively measures for the Maypole dance or to strike the witching note called for by the wild doings at the "Hellish Rendezous". Unforfunately his writing for the solo voices is not free from awkwardness and at times the weight and density of the orchestral fabric constitutes a barrier between the word that is sung and the ears of the audience.

"Merry Mount" is almost a one-part opera and that part is Wrestling Bradford. In it Mr. Tibbett exhibits once more his intelligence and skill as a singing actor, as well as splendid courage and endurance. The wooden angularity of his movements and gestures, however, was a mistaken exaggeration. That the terrific tessitura of his part interferes with his vocal security and freedom was, of course, not his fault.



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