[Met Performance] CID:171200
Soirée {6}
Don Pasquale {46}
Metropolitan Opera House: 03/12/1956.

(Review)


Metropolitan Opera House
March 12, 1956


SOIRÉE {6}

Girl....................Mary Ellen Moylan
Boy.....................Oleg Briansky
Hostess.................Margaret Black
Spaniard................Adriano Vitale

March....................Black and corps de ballet
Canzonetta...............Moylan, Briansky and corps
Tirolese.................Corps de ballet
Bolero...................Vitale and corps
Tarantella...............Corps de ballet
Quadrille................Corps de ballet
Pas de deux..............Moylan, Briansky
Variations...............Briansky and female corps
Variations...............Moylan and male corps
Moto Perpetuo............Full company

Conductor...............Thomas Schippers


DON PASQUALE {46}

Don Pasquale............Fernando Corena
Norina..................Hilde Güden
Ernesto.................Cesare Valletti
Dr. Malatesta...........Frank Guarrera
Notary..................Alessio De Paolis

Review of Louis Biancolli in the World Telegram & Sun

A Norina for the Binoculars

Adorned with a new Norina, "Don Pasquale" - Donizetti's gay little comedy of romance and intrigue - bubbled across the Metropolitan stage last night in the season's final performance.

The new object of all the amorous commotion last night was Hilde Gueden the blond Viennese beauty who is the nominee of many a binocular-bearing boxholder for the title of "Miss Metropolitan." The opera glasses were working overtime last night.

Besides being a very pretty Norina, Miss Gueden, who had never sung the role here before, was also a very nice one - dainty and pleasant to watch and listen to; not too vivacious, but neat.

The voice was pretty, as usual, and the phrasing smooth and even. What I found lacking was the melting line of bel canto and the sustained coloratura sparkle that is despair of most Norinas and the triumph of few.

It was again a pleasure to watch the masterly comedy routine of Fernando Corena as Don Pasquale, to listen to the small but superbly modulated vocalism of Cesare. Valletti as Ernesto, and to note the clear, crisp tone and gesture of Frank Guarrera as Dr. Malatesta.

It was also refreshing to see the bright and ingenious staging again - the slick and amusing revolving stage, the hat-box smartness of the decor, the colorful period wardrobe. "Don Pasquale" has been a good show, and still better music.

Still another attraction was the conducting of young Thomas Schippers, who with this one score has established himself as the Met's most promising podium personality.

I found myself liking Zachary Solov's prefatory ballet, "Soiree," a bit more last night. Measured by past Metropolitan standards, it marks a great advance toward the higher ideals and realities of classic ballet.

They have made a good bill for the money, "Don Pasquale" and "Soiree," and it would be nice to see more combinations of the kind in the years to come. With an enterprising fellow like Rudolf Bing around, that shouldn't be hard.



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