[Met Performance] CID:34880
Carmen {190} Philadelphia, Pennsylvania: 02/7/1905.

(Review)


Philadelphia, Pennsylvania
February 7, 1905


CARMEN {190}

Carmen..................Olive Fremstad
Don José................Albert Saléza
Micaela.................Aïno Ackté
Escamillo...............Marcel Journet
Frasquita...............Paula Ralph
Mercédès................Josephine Jacoby
Remendado...............Albert Reiss
Dancaïre................Eugène Dufriche
Zuniga..................Bernard Bégué
Moralès.................Taurino Parvis
Dance...................Enrichetta Varasi

Conductor...............Arturo Vigna

Director................Eugène Dufriche

Review (unsigned) in a Philadelphia newspaper (unidentified)

OLIVE FREMSTAD IS AN IDEAL CARMEN

SHE DELIGHTS A LARGE AUDIENCE AT THE ACADEMY

Saleza's Real Worth Shown- He Appears as Don José - Minor Roles Unsatisfactory

This fateful and warmly emotional composition never fails of its composition and last evening a large audience was present and was once more held spellbound by the tragic beauty of the exquisite Southern melodies.

The Carmen of Olive Fremstad is a wonderfully vivid, dominating figure, the first impersonation seen in recent years that faithfully suggested the coarse, compelling cigarette girl of Merimee's novel. A Carmen possessing the most marked individuality, it was presented with a wealth of detail and an understanding that was startling. Fremstad has a fine dramatic sense and unusual magnetism, and her work throughout the evening was a carefully conceived study of a vulgar woman of the people, whose fascinating personality with its wealth of allures it was impossible to withstand.

It is in the interpretation of such roles as Don José that it is possible to appreciate the real worth of an artist like Saleza. As Micaela, Ackté is heard at her best, the role is so entirely within the limitations of her vocal equipment. The Escamillo of Journet is a familiar figure, a thoroughly capable but entirely undistinguished impersonation. The interpretation of the minor roles was far from satisfactory, and many of the ensembles suffered in consequence. The beautiful Quintet in the second act was unusually rough and ineffective.



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