[Met Performance] CID:212370
La Forza del Destino {127} Metropolitan Opera House: 10/25/1967.

(Debut: Louise Pearl
Review)


Metropolitan Opera House
October 25, 1967


LA FORZA DEL DESTINO {127}
Giuseppe Verdi--Francesco Maria Piave

Leonora.................Leontyne Price
Don Alvaro..............Richard Tucker
Don Carlo...............Sherrill Milnes
Padre Guardiano.........Bonaldo Giaiotti
Preziosilla.............Louise Pearl [Debut]
Fra Melitone............Fernando Corena
Marquis de Calatrava....Louis Sgarro
Curra...................Carlotta Ordassy
Trabuco.................Robert Schmorr
Surgeon.................Robert Goodloe

Conductor...............Francesco Molinari-Pradelli

Review of Irving Kolodin in the Saturday Review


The game of "change the cast" which the Metropolitan indulges in from time to time produced the least-expected outcome of all in the most recent performance of Verdi's "La Forza del Destino:" a truly satisfactory blend of voices for the kind of euphony which Verdi had in mind. This was an occasion when the central reality of Leontyne Price's sound as Leonora was not obscured but was complemented by Richard Tucker's Don Alvaro, the ever improving sonority of Bonaldo Giaiotti as Padre Guardian, and Sherrill Milnes's likable effort as the other element of the quartet (Don Carlo).

Price, of course, is a contemporary paragon, and Tucker's voice is the standard for the kind of singing Alvaro has to do in this opera. To his credit, Giaiotti, after six or so seasons at the Met, has attained the level of consistency to make the most of his finely resonant voice. This should convey some kind of instructive precept to Milnes, who has the means, the physique, and the flair to qualify on the same level. What Milnes is now in need of, he is getting the hard way - that is, what for the aspiring pilot would be called "air time," or for the immature operatic artist could be termed "stage time." Unfortunately for Milnes, it has to be put in on the stage of the Metropolitan, but he has enough in his favor to offer reasonable return to the ticket-buyer while struggling for the kind of consistency which, for example, Giaiotti has now achieved. Milnes's real danger would be to conclude that he has achieved a level acceptable to himself and not strive to better it. That would be sadly delimiting for a singer who has all the attributes-sound, physique, presence - for an outstanding career. Francesco Molinari-Pradelli directed knowingly, and Louise Pearl made her debut as Preziosilla, a role which, in this version, is more visible than audible.



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