[Met Performance] CID:93310
Don Quichotte {6} Auditorium, Atlanta, Georgia: 04/20/1926.

(Review)


Atlanta, Georgia
Auditorium
April 20, 1926


DON QUICHOTTE {6}

Don Quichotte...........Fyodor Chaliapin
Dulcinée................Marion Telva
Sancho Pança............Giuseppe De Luca
Pedro...................Grace Anthony
Garcias.................Minnie Egener
Rodriguez...............George Meader
Juan....................Angelo Badà
Ténébrun................Paolo Ananian
Servant.................Vincenzo Reschiglian
Servant.................Arnold Gabor
Bandit..................Louis D'Angelo
Bandit..................Arnold Gabor

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

Review of Hugh Hodgson in the Atlanta Constitution

Massenet's opera presented 16 years ago for the first time at Monte Carlo, was given its initial performance in Atlanta Tuesday night with Chaliapin again in the title role. While the opera on first hearing does not appeal to us as other of Massenet's works, it is an excellent vehicle to again display the greatness of Chaliapin. The composer has drawn his situations more liberally from Le Lorrain than from Cervante's romance. Don Quichotte is represented as a pattern of kindness, instead of the fantastic serio-comic knight; and Dulcinea is a gay courtesan instead of a rustic. Sancho Panza remains as in the original. The music, with a few short arias, is largely melodious declamation. The orchestration has vivid coloring and is fittingly humorous.

The role of Don Quichotte requires much besides splendid singing. Fine acting, appreciation of musical possibilities, and an unusual sense of humor, are necessary for portraying this part. Mr. Chaliapin, splendid musician that he is, satisfied the demands and made a success of the opera through his powerful personality. He was at all times the central figure of the opera. An excellent partner in the role of Sancho was De Luca, who sang with his usual style and finish. Meader's pleasing voice was heard as Rodriguez.

Miss Telva, who made such a favorable impression "La Gioconda" last year, sang the part of Dulcinea. Only in very few instances is the leading rôle of an opera given to a contralto, and Miss Telva took advantage of her opportunity. She met the technical difficulties of many florid passages with ease and precision. She displayed marked flexibility - not always found among conntraltos - and the lighter work offered fine contrast to the usual sustained parts. Since Miss Telva's first appearance in Atlanta, she seems to have grown vocally and artistically, and it is with pleasure that we hear her singing the major rôles.

As usual the ballet added spirit, and interest to the performance with incidental dances, and the artistic background of the new sets gave the proper atmosphere. Mr. Hasselmans conducted a spirited performance of the opera, which centered around Chaliapin. It was indeed a privilege to have had the opportunity of hearing "Don Quichotte" so soon after the New York premiere performance, and with the original "Knight of the Rueful Countenance."



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