[Met Performance] CID:205000
The Queen of Spades {13} Metropolitan Opera House: 01/6/1966.
(Review)
Metropolitan Opera House
January 6, 1966
In English
THE QUEEN OF SPADES {13}
Lisa....................Felicia Weathers
Gherman.................James McCracken
Countess................Jean Madeira
Prince Yeletsky.........Sherrill Milnes
Count Tomsky............Morley Meredith
Chekalinsky.............Paul Franke
Surin...................Lorenzo Alvary
Paulina.................Joann Grillo
Masha...................Carlotta Ordassy
Master of Ceremonies....Gene Boucher
Chloé...................Loretta Di Franco
Chaplitsky..............Gabor Carelli
Narumov.................Louis Sgarro
Dance...................Ivan Allen
Dance...................Anna Aragno
Conductor...............Thomas Schippers
Review of John Gruen in the Herald Tribune
Jean Madeira sang her first Countess last evening in the Metropolitan Opera's production of Tchaikovsky's "Queen of Spades." It was a triumph of vocal and dramatic characterization and made eminently clear the fact that Miss Madeira is an artist who can dominate the stage whether she utters a sound or not.
The point is the role is brief, but intensely dramatic and requires the projection of an actress able to sustain her presence, be that presence visible or invisible throughout the opera. This Miss Madeira accomplished to stunning effect, being the more powerful by means of a vocal instrument deep and regal in proportion. Her great second act aria contained pathos and poetry, and never strayed from the realm of characterization. In short, Jean Madeira's old countess was something very special indeed.
The rest of the cast was a familiar one. James McCracken's Gherman was a study of controlled anguish, while Felicia Weathers' Lisa, somewhat strained last evening, was carefully handled. The Met's new baritone, Sherrill Milnes, singing Yeletsky once again displayed a most beautiful and expressive voice, as did Morley Meredith singing Count Tomsky.
Thomas Schippers is, of course, made for this sort of breathless and romantic music, and in his hands the score brimmed with all manner of nuance, fire and lyricism.