[Met Performance] CID:196260
Manon {197} Metropolitan Opera House: 11/9/1963.
(Review)
Metropolitan Opera House
November 9, 1963
MANON {197}
Manon...................Anna Moffo
Des Grieux..............George Shirley
Lescaut.................Vladimir Ruzdak
Count des Grieux........Lorenzo Alvary
Guillot.................Alessio De Paolis
Brétigny................William Walker
Poussette...............Jeanette Scovotti
Javotte.................Marcia Baldwin
Rosette.................Joann Grillo
Innkeeper...............Robert Patterson
Guard...................Charles Kuestner
Guard...................Carlo Tomanelli
Maid....................Athena Vicos
Sergeant................William Stanz
Dance...................Carole Kroon
Dance...................Hans Meister
Dance...................Ali Pourfarrokh
Dance...................Eugene Collins
Conductor...............Thomas Schippers
Review of John Ardoin in Musical America
November 9 was our first chance to hear George Shirley as Des Grieux in the new production of "Manon." The young tenor had not been scheduled to sing the part until this date, but had had to step in for Nicolai Gedda at the second performance of the season (Gedda was called home to Europe due to illness in his family, but will return later in the season). The November 9 performance was also our first opportunity to catch Vladimir Ruzdak as Lescaut (he had sung the role for the first time on October 30 in place of Frank Guarrera who was indisposed).
Shirley's singing would have been outstanding in almost any Italian role, but as Des Grieux his approach was too healthy and out-of-doors for this pallid salon character. There was not enough elegance of line and sense of timing to make the crucial difference between an acceptable and a stylish performance of the part. Also, it is too bad that Shirley and Anna Moffo (Manon) never make it to Louisiana in Massenet's version, for their patois would have been more easily understood on the bayous than on the Seine. Ruzdak was neither a credit not a detriment to this performance. In fact, he went almost unnoticed. The same cannot be said for Ita Maximowna's distressing decor and Thomas Schippers' rude conducting.