[Met Performance] CID:137520
Le Nozze di Figaro {84} Boston Opera House, Boston, Massachusetts: 04/13/1944.
(Review)
Boston, Massachusetts
April 13, 1944
LE NOZZE DI FIGARO {84}
Figaro..................Ezio Pinza
Susanna.................Frances Greer
Count Almaviva..........John Brownlee
Countess Almaviva.......Eleanor Steber
Cherubino...............Jarmila Novotna
Dr. Bartolo.............Virgilio Lazzari
Marcellina..............Hertha Glaz
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...................Leon Varkas
Dance...................Allan Wayne
Conductor...............Bruno Walter
Review of Rudolf Elie, Jr. in the Boston Herald
'Marriage of Figaro'
The Metropolitan came to life last night with a wholly enchanting performance of Mozart's wonderful "Marriage of Figaro." It was a capital job in virtually every respect with properly saucy scenery, gay and resplendent costumes in just the right vein, a deftly staged action free of clumsiness and the sensitive, cohesive force in the pit of a man admired the world over for his touch with Mozart. And this is not to mention the singing itself, which was often glorious and seldom less than superior.
Although it was Ezio Pinza's show from the outset, he by no means had it all to himself, even though it seemed so when he finished Figaro's riotous admonition in the last act. He drew as much from the role through his acting as well as his singing, and never once faltered in his witty conception of the part. Yet there was some exquisite singing and acting by Frances Greer and Eleanor Steber and, in fact, the other principals.
Miss Greer's voice is exceptionally light, but so well focused she could be heard in all but the biggest ensemble numbers, which were sometimes out of balance anyway. She sang the "Deh vieni" with lovely vocal quality and charming tenderness, and proved an actress of fine comic touch throughout. Miss Steber rather missed perfectly projecting "Porgi amor," but "Dove sono" found her in fine form. There can be little doubt that she is well on her way to the top.
John Brownlee was in splendid voice as the Count; Jarmilia Novotna sang her role as Cherubino well and made a most pleasing appearance; Hertha Glaz was excellent as Marcellina (but why should Figaro spurn so good looking a girl?), and there were amusing contributions by Alessio DePaolis (who stole every scene he appeared in); John Garris and Louis D'Angelo. Even the crowd scenes were handled lightly, and there was no milling about at any time. There was one thing, however (if a sting in the tail may be forgiven), and that is, what possible, conceivable excuse is there for doing this piece in Italian? It is perfectly preposterous to have a cast, more than half of which is American born, reciting jokes in a foreign language.