[Met Performance] CID:135290
Le Nozze di Figaro {79} Chicago Civic Opera House, Chicago, Illinois: 03/22/1943.
(Review)
Chicago, Illinois
March 22, 1943
LE NOZZE DI FIGARO {79}
Figaro..................Ezio Pinza
Susanna.................Bidú Sayao
Count Almaviva..........John Brownlee
Countess Almaviva.......Eleanor Steber
Cherubino...............Jarmila Novotna
Dr. Bartolo.............Salvatore Baccaloni
Marcellina..............Irra Petina
Don Basilio.............Alessio De Paolis
Antonio.................Louis D'Angelo
Barbarina...............Marita Farell
Don Curzio..............John Garris
Peasant.................Mona Paulee
Peasant.................Lillian Raymondi
Dance...................Julia Barashkova
Dance...................Mary Smith
Dance...................James Lyons
Dance...................Allan Wayne
Conductor...............Bruno Walter
Review of Herman Devries in the Chicago Herald-American
Pinza Stands Out in Met's "Marriage of Figaro"
The return of the Metropolitan Opera Association, headed by General Manager Edward Johnson, was hailed by our operagoers as an event second in importance only the visit of Mme. Chiang Kai-shek to the Stadium last night.
"Le Nozze di Figaro" at the Civic Opera House was chosen for the grand [first night] and though it must be stated that in our vast theater some of the delicacy and flavor of the Mozart music was lost, the performance, as a whole went with a lot of vim and the opera was certainly well rehearsed.
Ezio Pinza's Figaro is a creation of mirth and melody. His booming and expressive voice, his natural stage deportment and the force of his personality made his presence felt so palpably that the personages surrounding him were almost eclipsed vocally and quasi-engulfed histrionically.
A close rival in verve and charm was the Susanna of Bidu Sayao, a captivating actress of frail, though pure crystalline vocalism.
The Cherubino of Jarmila Novotna is not a character that suits the style of the fair Czech singer. Her figure and manner are too unbending for the antics and caprices of the youth of Beaumarchais' story.
Eleanor Steber's fine voice and excellent method of singing are greatly in her favor, but a more artistic conception of how Countess Almaviva should be gowned and coifed would gain her considerably more importance in this music-comedy.
Her consort in the opera, John Brownlee, did what he could with his role, but it was left to Salvatore Baccaloni, Irra Pettina, Louis d'Angelo and more especially to Alessio de Paolis to make their respective roles stand out as examples of high comedy.
The great Bruno Walter will find his success later in the season when he conducts operas of more dramatic import.