[Met Performance] CID:82430
Carmen {278} Metropolitan Opera House: 12/16/1922.

(Review)


Metropolitan Opera House
December 16, 1922


CARMEN {278}

Carmen..................Florence Easton
Don José................Edward Johnson
Micaela.................Queena Mario
Escamillo...............Giuseppe De Luca
Frasquita...............Charlotte Ryan
Mercédès................Marion Telva
Remendado...............George Meader
Dancaïre................Paolo Ananian
Zuniga..................Louis D'Angelo
Moralès.................Vincenzo Reschiglian
Dance...................Rosina Galli
Dance...................Giuseppe Bonfiglio

Conductor...............Louis Hasselmans

Review signed J. A. H. in musical America

A Popular 'Carmen'

"Carmen" was given at the popular Saturday night performance on Dec. 16, with Florence Easton again the Mérimée-Bizet heroine. It was a performance of high quality throughout and especial interest centered in the first appearance here of Edward Johnson as José. Mr. Johnson made the part a more or less naive one and built up his characterization with finesse. His struggle against the seductions of Carmen in the first act was admirable and the final scene he acted with a dignity not usually given it. It was whispered around the opera house that Mr. Johnson had never met either Miss Easton or Miss Mario until they appeared on the stage at this performance. If this is true, it may have accounted in a measure for the unusual spontaneity of the action all the evening. The tenor's singing was very beautiful at all times and after the "Flower Song" he was accorded an ovation which, however, he was artist enough not to acknowledge until the end of the act.

Miss Easton's Carmen exhibited all the features of carefully thought-out "business" and was dramatically consistent and vocally fine. Miss Mario sang her duet with Mr. Johnson and her aria in the third act with exquisite tone. She also has obvious gifts for characterization and her appearances in other roles will be awaited with interest. Mr. De Luca did all that can be done with Escamillo, which is to sing the part well. The remaining rôles were assumed by Charlotte Ryan, Marion Telva, Paolo Ananian, George Meader, Louis D'Angelo and Vincenzo Reschiglian. Louis Hasselmans conducted. A word should be said about the new stage business for which Mr. Wymetal is probably responsible. Mr. De Luca, in singing the second verse of his aria, stood on the table and the girls and men of the chorus sat around on the floor to listen, a simple but effective bit. In the smuggler scene the curtain rose on an empty stage and the chorus sang offstage, coming nearer and nearer and finally entering with their contraband goods. This is just the sort of thing the Metropolitan production has needed for some time and gratitude is in order that it has come!



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