[Met Performance] CID:127690
Louise {32} Metropolitan Opera House: 01/20/1940.
(Debut: Reno Mabilli
Review)
Metropolitan Opera House
January 20, 1940
LOUISE {32}
Charpentier-Charpentier
Louise..................Grace Moore
Julien..................René Maison
Mother..................Doris Doe
Father..................Ezio Pinza
Blanche.................Helen Olheim
Marguerite..............Edith Herlick
Suzanne.................Lucielle Browning
Gertrude................Irra Petina
Irma....................Maxine Stellman
Camille.................Thelma Votipka
Élise...................Annamary Dickey
Madeleine...............Anna Kaskas
Errand Girl.............Natalie Bodanya
Forewoman...............Maria Savage
Ragpicker...............Douglas Beattie, Acts I, II
Ragpicker...............Nicola Moscona, Acts III, IV
Young Ragpicker.........Lucielle Browning
Coal Gatherer...........Anna Kaskas
Noctambulist............Alessio De Paolis
Newsgirl................Annamary Dickey
Junkman.................Louis D'Angelo
Milkwoman...............Maxine Stellman
Policeman...............Coscia Marlowe
Street Arab.............Natalie Bodanya
Streetsweeper...........Maria Savage
Painter.................Wilfred Engelman
Sculptor................George Cehanovsky
Songwriter..............Nicholas Massue
Student.................Giordano Paltrinieri
Poet....................George Rasely
Philosopher.............Norman Cordon
Philosopher.............Louis D'Angelo
Chairmender.............Anna Kaskas
Peddler.................George Cehanovsky
Artichoke Vendor........Thelma Votipka
Birdfood Vendor.........James Demers [Last performance]
Birdfood Vendor.........Reno Mabilli [Debut]
Birdfood Vendor.........Joseph Santoro
Carrot Vendor...........Alessio De Paolis
Watercress Vendor.......Anna Kaskas
Greenpeas Vendor........Nicholas Massue
Old Clothes Man.........George Rasely
Pope of Fools...........Alessio De Paolis
Dance...................Maria Gambarelli
Conductor...............Ettore Panizza
Director................Désiré Defrère
Designer................Joseph Urban
Louise received three performances this season.
Review of Jerome D. Bohm in the Herald Tribune
Grace Moore Sings "Louise" At Metropolitan
Artists in Charpentier Opera Also Include Doris Doe, Pinza and Rene Maison
For all its undeniably sentimental pages and its unabashed Wagnerisms, "Louise" remains a viable opera, one in which certain aspects of the Paris of 1900 are imaginatively realized for us, a realization all the more poignant because the Paris of forty years ago is gone forever and remains but a nostalgic memory. The sociological problem which once made "Louise" a matter of burning contemporary interest no longer exists. But Charpentier has succeeded here in creating figures of flesh and blood, and while his music is not highly original in its sources, there is considerable atmospheric tone-painting in the score which remains arrestingly suggestive.
Many of these inherent attributes were conveyed in this presentation. Miss Moore's delineation of the central figure remains her most convincing operatic contribution, although her portrayal is not consistently conceived. Moments of true simplicity are contrasted with others in which it is difficult to believe that this Louise is unversed in the ways of life and love. Such a moment was the parting kiss given Julien in the first scene of the second act, which would have been more appropriate had it been bestowed in a performance of "Thais." Much of her singing was effective, invested with tonal and emotional warmth, but as in last year's performances, her delivery of her third-act aria "Depuis le jour," was rhythmically and tonally erratic, well turned phrases being in the minority.
As the mother, Miss Doe's envisagement was often dramatically veracious and her singing, too, served to accentuate the effectiveness of her impersonation. Mr. Pinza, in excellent vocal form, was again a sympathetic figure as the father, although his approach to the part was more Neapolitan than Parisian. The Julien of Mr. Maison, like everything he undertakes, is stamped with the hallmark of sincerity; yet there can be no doubt that he is miscast as a youthful, ardent lover, and it was a much his fault as Miss Moore's that the curtain of the first scene of Act II invoked snickers from various parts of the house.
Some of the most effective bits were contributed by singers entrusted with less weighty parts. The scene in the dressmaking establishment, one of Charpentier's most attractive, was highly diverting. Miss Stellman and Miss Votipka vouchsafing particularly telling touches. Mr. Panizza directed zealously and succeeded in obtaining results from his players. The audience, a huge one, gave frequent demonstrations of approval.