[Met Performance] CID:165220
Cavalleria Rusticana {371}
Pagliacci {410} Metropolitan Opera House: 03/18/1954.
(Review)
Metropolitan Opera House
March 18, 1954
CAVALLERIA RUSTICANA {371}
Mascagni-Targioni-Tozzetti/Menasci
Santuzza................Zinka Milanov
Turiddu.................Kurt Baum
Lola....................Mildred Miller
Alfio...................Frank Valentino
Mamma Lucia.............Thelma Votipka
Conductor...............Alberto Erede
Director................Hans Busch
Set designer............Horace Armistead
Costume designer........John Robert Lloyd
Cavalleria Rusticana received four performances this season.
PAGLIACCI {410}
Leoncavallo-Leoncavallo
Nedda...................Lucine Amara
Canio...................Ramon Vinay
Tonio...................Leonard Warren
Silvio..................Renato Capecchi
Beppe...................Paul Franke
Conductor...............Alberto Erede
Director................Désiré Defrère
Set designer............Joseph Novak
Pagliacci received four performances this season.
Review of Ronald Eyer in Musical America
The venerable operatic twins, sired by Mascagni and Leonvacallo, were thrust into the breach caused by the still-mysterious withdrawal of "Simon Boccanegra" previously scheduled for revival at this time. The performances of the two operas had all the earmarks of hasty substitution, but they provided an evening of substantial, if unenchanting, entertainment.
Zinka Milanov and Kurt Baum were the main protagonists in "Cavalleria," and they made up in vocal power and luster what they may have lacked in dramatic conviction. On their lips, the thrice-familiar melodies of Mascagni sounded as fresh and stimulating as ever they were. Mildred Miller and Frank Valentino gave able support in the roles of Lola and Alfio, as did Thelma Votipka in that of Lucia.
"Pagliacci" began promisingly with a splendorous Prologue by Leonard Warren, the Tonio. But thereafter, as in the previous opera, the performance turned perfunctory and, for all the fine voices employed and the operatic wisdom and experience compounded many times over among the other participants, the tragic story of the clown could not gather the momentum of tension and excitement its verismo style urgently demands. Again there was much fine singing. In addition to Mr. Warren's brilliant and loudly acclaimed performance, there was the luscious, brilliant-toned Nedda of Lucine Amara, one of the Metropolitan's most promising young voices. There was also the clear, firm vocalism of Ramon Vinay as Canio and the ever-dependable voices of Paul Franke and Renato Capecchi as Beppe and Silvio respectively. Each in his individual moments produced something treasurable; but together, there was an indefinable want of rapport. Alberto Erede conducted both operas.