[Met Performance] CID:255840
Luisa Miller {38} Metropolitan Opera House: 12/9/1978.

(Reviews)


Metropolitan Opera House
December 9, 1978


LUISA MILLER {38}
Giuseppe Verdi--Salvadore Cammarano

Luisa...................Katia Ricciarelli
Rodolfo.................Josť Carreras
Miller..................Mario Sereni
Count Walter............Paul Plishka
Wurm....................John Cheek
Federica................Mignon Dunn
Laura...................Shirley Love
Peasant.................Lou Marcella

Conductor...............James Levine

Review of Richard Dyer in the Boston Globe

The evening's revival of "Luisa Miller" was also a very good performance featuring a very portly Jose Carreras, singing gloriously as Rodolfo; a much more committed and capable Katia Ricciarelli, an artist who, unlike most, continues to improve in full view of the public; and an unfortunately stolid Miller by Mario Sereni, an artist who, after a long career, is still fortunately solid in his basic vocalism. Two basses were most impressive, Paul Plishka and John Cheek. The mezzo Mignon Dunn was cast in a role she simply can't sing. James Levine's traversal of the score was striking, most particularly in those episodes in the third act which are themselves most striking - musically and psychologically much of this is as significant as the second act of "La Traviata." Levine's interpretation showed the basic wisdom of his decision three years ago to commit himself to the Met and to repertory performances and the attendant responsibility to pull diverse elements up to their own highest level; this, and not the hothouse self-protecting limited-run, hand-picked cast way of some of Levine's rivals, is the way that the greatest conductors of the past developed their art.


Review of Robert Jacobson in Opera News

With the return of Carreras (heard Dec. 9), "Miller" took on quite a healthier complexion - that of inspired grand opera. In an electric evening on all fronts, the presence of the Spanish tenor seemed to spur Miss Ricciarelli on to a truly memorable portrayal, one in which her pianissimos of poised, unearthly beauty - spun like white gold - were matched by an unerring sense of drama speaking real passion and desperation. With her and Carreras, two of the most beautiful voices in opera were heard, for he sounded superbly focused as he anchored tonal weight through the range, playing Rodolfo with intelligence and intensity. Mario Sereni was the new Miller, radiating sympathy and singing firmly. John Cheek's Wurm sounded weak and had little personality.



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