[Met Performance] CID:133120
The Bartered Bride {57} Metropolitan Opera House: 02/26/1942.
(Review)
Metropolitan Opera House
February 26, 1942
In English
THE BARTERED BRIDE {57}
Marenka.................Jarmila Novotna
Jeník...................Charles Kullman
Vasek...................Karl Laufkötter
Kecal...................Norman Cordon
Ludmila.................Thelma Votipka
Krusina.................Arthur Kent
Háta....................Irra Petina
Tobias..................John Gurney
Circus Barker...........John Dudley
Esmeralda...............Annamary Dickey
Red Indian..............Ludwig Burgstaller
Dance...................Ruthanna Boris
Dance...................Monna Montes
Dance...................Michael Arshansky
Dance...................Alexis Dolinoff
Dance...................Leon Varkas
Dance...................Alexis Kosloff
Conductor...............Paul Breisach
Review of Miles Kastendieck in the Brooklyn Eagle
Czech Opera Brings Gaiety to the Met
Smetena's "Bartered Bride" Has Spirited Performance
It would be hard to find a match for the gayety of Smetena's "Bartered Bride," which had its first evening performance of the season at the Metropolitan Opera House last night. No other opera has quite the youthful exuberance to be found in this simple boy-meets-girl-boy loses-girl-boy-gets-girl story, set within the framework of beautiful music.
There may not be all the artistry, all the greatness to be found in a Mozart opera, but there is a lilt in the music and a human appeal that makes this work unique. A good performance such as the one given last night can hardly fall of its effect.
When it was revived last year there was general discontent over an English version which got lost in the foreign accents of the cast. A year has brought a marked improvement in the diction of both Jarmila Novotna as Marie and Karl Laufkötter as Vashek, while the casting of Norman Cordon in the role of the marriage broker, Kezal, has stabilized the entire presentation. This is definitely the role that fits him admirably and, though there were times when he should have enunciated more clearly, his performance injected just the right degree of comic sprit.
Mme. Novotna won her share of applause for some persuasive singing, tough the music is not altogether kind to her vocal timbre. Charles Kullman as Jenik, her suitor, sang consistently well. But it was Laufkötter who really stole the show. He is an excellent actor, especially when one realizes how far apart are the roles of Mime and Vashek in both of which he sings. Last night he was responsible for more out-and-out laughter than has been heard in many a performance this season.
Paul Breisach conducted a moderately paced but spirited interpretation of the score, the beauty of which makes a deeper impression on the listener each time he hears it. There could have been more deftness, bite and jollity in the pacing, but the essential joyfulness was present. Arthur Kent, Thelma Votipka, John Gurney and Annamary Dickey gave admirable support, while the ballet proved satisfactory. There was a good deal of fun in the circus scene of the Third Act, all of which added up to a good show.