[Met Performance] CID:244020
Il Trittico {18}
Il Tabarro {22}
Suor Angelica {18}
Gianni Schicchi {82} Metropolitan Opera House: 01/22/1976.
(Review)
Metropolitan Opera House
January 22, 1976
IL TRITTICO {18}
IL TABARRO {22}
Giorgetta...............Renata Scotto
Luigi...................Harry Theyard
Michele.................Cornell MacNeil
Frugola.................Lili Chookasian
Talpa...................Philip Booth
Tinca...................Charles Anthony
Song Seller.............Jon Garrison
Lover...................Betsy Norden
Lover...................Douglas Ahlstedt
Conductor...............Sixten Ehrling
SUOR ANGELICA {18}
Angelica................Renata Scotto
Princess................Lili Chookasian
Genovieffa..............Betsy Norden
Osmina..................Mary Fercana
Dolcina.................Elizabeth Anguish
Monitor.................Marcia Baldwin
Abbess..................Jean Kraft
Head Mistress...........Batyah Godfrey Ben-David
Nurse...................Cynthia Munzer
Lay Sister..............Maureen Smith
Lay Sister..............Joyce Olson
Novice..................Linda Mays
Novice..................Shinja Kwak
Alms Collector..........Alma Jean Smith
Alms Collector..........Elena Doria
Conductor...............Sixten Ehrling
GIANNI SCHICCHI {82}
Gianni Schicchi.........Frank Guarrera
Lauretta................Renata Scotto
Rinuccio................Raymond Gibbs
Nella...................Betsy Norden
Ciesca..................Marcia Baldwin
Zita....................Lili Chookasian
Gherardo................Charles Anthony
Betto...................Russell Christopher
Marco...................Gene Boucher
Simone..................Raymond Michalski
Gherardino..............Lawrence Klein
Spinelloccio............Richard Best
Amantio.................Andrij Dobriansky
Pinellino...............Herman Marcus
Guccio..................Edmond Karlsrud
Buoso Donati............Terry Allen
Conductor...............Sixten Ehrling
Review of Andrew Porter in the New Yorker
In "Il Tabarro," "Suor Angelica" and "Gianni Schicchi" Renata Scotto undertook all three heroines; though their characters are very different, the combined vocal demands hardly exceed those of a Butterfly or a Manon Lescaut. Miss Scotto's Giorgetta and Angelica, both the first of her career, were assured interpretations but mannered in their execution, as her portrayals usually are. (She managed to hold the house silent and attentive, too much moved to crash in with applause, after Angelica's "Senza mamma.") Intended by nature to be a lyric soprano and a delicious little butterball, she has invented a grand manner of her own and built up her voice to match. One can regret it, for she has acquired force at the expense of sweetness, but at the same time must admire and enjoy her thorough command, vocal and dramatic, of the spinto roles she essays. Nevertheless, it was as young Lauretta and in an effortlessly seductive account of "O mio babbino caro" that she was most enchanting.