[Met Performance] CID:120400
Carmen {346} Metropolitan Opera House: 01/21/1937.

(Review)


Metropolitan Opera House
January 21, 1937


CARMEN {346}

Carmen..................Rosa Ponselle
Don José................René Maison
Micaela.................Natalie Bodanya
Escamillo...............Ezio Pinza
Frasquita...............Thelma Votipka
Mercédès................Helen Olheim
Remendado...............Giordano Paltrinieri
Dancaïre................George Cehanovsky
Zuniga..................Louis D'Angelo
Moralès.................Wilfred Engelman

Act IV Ballet arranged by George Balanchine
1. Gitane: Ruthanna Boris, American Ballet Ensemble
2. Farucca: Maclovia Ruiz, American Ballet Ensemble
3. Farandole: Ruthanna Boris, Mona Montes, Joseph Levinoff, American Ballet Ensemble

Conductor...............Gennaro Papi

[Ponselle's costumes were designed by Valentina.]


Review of Irving Kolodin in the Sun

Rosa Ponselle Rejoins Opera in 'Carmen'

The recently ailing Rosa Ponselle rejoined the ranks of the Metropolitan last night appearing once again in "Carmen." This kept intact the string of Miss Ponselle's successive performances in this role during last season and this, to the exclusion (for whatever reason) of all other parts.

Her delineation of the cigarette girl was no less a caricature than it has been in the past, save perhaps that it was a shade more considerately vocalized. There were phrases now and again in the "Habanera" and the "Seguidilla" that reminded one of the sumptuous loveliness this voice once possessed, but they were prominent merely by contrast with Miss Ponselle's prevailing overuse of the dark timbers of the organ, her liberty with outlines and accents. In the passages of the dialogue and the ensembles her dramatic efforts frequently tested the credulity of the audience to laughter.

Rene Maison offered his earnest portrayal of Don José, and Ezio Pinza intoned the music of the Toreador, with Natalie Bodanya an excessively inoffensive Micaela. The American Ballet danced, and Gennaro Papi conducted. It was not one of the nights that would have prompted Nietzsche to inspired comment on the "yellow sunshine" of Bizet's score. A large audience was present and applauding.



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