[Met Performance] CID:122530
Rigoletto {221} Metropolitan Opera House: 01/12/1938.
(Debut: Bruno Landi
Review)
Metropolitan Opera House
January 12, 1938
RIGOLETTO {221}
Giuseppe Verdi--Francesco Maria Piave
Rigoletto...............Carlo Tagliabue
Gilda...................Bidú Sayao
Duke of Mantua..........Bruno Landi [Debut]
Maddalena...............Irra Petina
Sparafucile.............Ezio Pinza
Monterone...............Norman Cordon
Borsa...................Angelo Badà
Marullo.................George Cehanovsky
Count Ceprano...........Wilfred Engelman
Countess Ceprano........Charlotte Symons
Giovanna................Thelma Votipka
Page....................Lucielle Browning
Conductor...............Ettore Panizza
Director................Désiré Defrère
Set designer............Vittorio Rota
Costume designer........Mathilde Castel-Bert
Choreographer...........George Balanchine
Rigoletto received six performances this season.
Review of G. G. in The New York Times
NEW SINGER HEARD AT THE METROPOLITAN
Bruno Landi Makes New York Debut in Role of the Duke in 'Rigoletto'
TABLIABUE IN TITLE PART
Appears in That Character for First Time Here -- Bidu Sayao Is the Gilda
What with the Strauss cycle, revivals of "Otello" and "Don Giovanni," and, of course, the providential Wagnerian enlightenment, the Metropolitan just last night got around to "Rigoletto." As if to make amends to a large house for this delay, the production offered the debut appearance of the tenor, Bruno Landi, who played the Duke, and-new to the Metropolitan-Carlo Tagliabue's portrayal of the title role. Mr. Landi was received most encouragingly, and with the special fervor of delighted Verdians. The new tenor sings pleasantly with a voice of moderate power and acceptable quality. He resorts frequently to a somewhat honeyed half-voice that makes its primary effect not by its musical aptness but rather by its unexpectedness. Generally, however, his singing meets the standards of phrasing obtaining in current performances of Italian opera.
By the most severe Hollywood standards, Mr. Landi is a handsome Duke. Being young, he has no difficulty appearing young; but youth is not all there is in the character. As far as the eye could tell, this Duke was quite a composed, serious and gentlemanly young person. His ardor was politely contained, his levity held safely within the bounds of respectability. Mr. Landi seems to be presuming wholly upon his youthful appearance to supply a temperament which, to the eye much more than to the ear, is not easily discoverable. When his movements and gestures match the feeling in his voice, this may be a convincing Duke.
For Mr. Tagliabue there was equal enthusiasm. His Rigoletto is sung in the broad and leisurely vocalism that, from one aspect, suits this early Verdi. The portrayal is far less satisfying histrionically than musically, Mr. Tagliabue keeping an over-conscientious eye on the conductor, and quite candidly singing to his house. Miss Sayao made a personable and flute-voiced Gilda, who went out of her way to spoil the effect of an excellently sung "Caro Nome" by attempting the off-stage note in the perilous leger lines, and calling quits with a wrench. Mr. Pinza's Sparafucile was sung superbly.