[Met Performance] CID:144340
Der Rosenkavalier {115} Baltimore, Maryland: 03/18/1947.

(Debut: Angelina Buonamassa|
Review)


Baltimore, Maryland
March 18, 1947


DER ROSENKAVALIER {115}

Octavian.....................RisŰ Stevens
Princess von Werdenberg......Irene Jessner
Baron Ochs...................Dezs÷ Ernster
Sophie.......................Nadine Conner
Faninal......................Hugh Thompson
Annina.......................Hertha Glaz
Valzacchi....................John Garris
Italian Singer...............Thomas Hayward
Marianne.....................Thelma Votipka
Mahomet......................Angelina Buonamassa [Debut]
Princess' Major-domo.........Emery Darcy
Orphan.......................Maxine Stellman
Orphan.......................Irene Jordan
Orphan.......................Thelma Altman
Milliner.....................Mimi Benzell
Animal Vendor................Lodovico Oliviero
Hairdresser..................Edward Caton
Notary.......................Gerhard Pechner
Leopold......................Ludwig Burgstaller
Faninal's Major-domo.........Anthony Marlowe
Innkeeper....................Leslie Chabay
Police Commissioner..........Lorenzo Alvary

Conductor....................Fritz Busch

Review of Helen A. F. Penniman in the Baltimore News-Post

"Rosenkavalier" Ends Met Season Here

Once more the Metropolitan Opera Company has paid its annual visit, and continued on to Boston, leaving us to relapse into our habitual musical schedule.

Certainly everyone concerned may be congratulated upon the success of the company's visit, and of the unhackneyed choice of operas presented. It cannot be denied, however, let personal preference stand as it may, that last night's production of "Der Rosenkavalier" did not equal the performance on the open*ing night.

Rise Stevens sang the role of the youth Octavian with the artful camouflage of her sex, and conveyed her music with warm, agreeable tone, though the score is atrociously high even for a mezzo, much more for a contralto. Her humorous approach when the "youth" is disguised as a girl, is infectious, especially in Act III.

Co-starring with Miss Stevens was Dezso Ernster, who impersonated the rouÚ, Baron Ochs, in so masterly a fashion as often to make us forget to miss Emanuel List.

Completing the trio of "leads" was Fritz Busch - of the Vienna Busches - who introduced the overture with superb aplomb, continuing with brilliant tempi, and an arresting revelation of the score all through the opera. Mr. Busch revived memories of Salzburg and the Vienna Philharmonic!

As for the part of the Princess, Irene Jessner is so experienced an opera singer that she can present a correct routine characterization of any role in her large repertory. Yet she lacks, both vocally and as an actress, that intangible "quality" that makes the Marschallin stand apart from other operatic great ladies.

Nor is Nadine Conner quite equal to the tessitura of Sophie's music, graceful and ingenuous though she is, while Hugh Thompson was entirely miscast as her father, Von Faninal.

Both Miss Jessner and Miss Conner did their best work in the last act, notably singing with Miss Stevens the great trio that is the ultimate glory of the opera, developed from one of the waltz tunes that emerge so enchantingly all through the score.

The secondary roles were capably handled with a special word for Herta Glaz, John Garris and Thelma Votipka, while the stage pictures were brilliant in color.

The Lyric was again filled to capacity.



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