[Met Performance] CID:1050

Metropolitan Opera Premiere, New Production

Mignon
Metropolitan Opera House, Wed, October 31, 1883

Debut : Baldassare Corsini


In Italian



Mignon (1)
Ambroise Thomas | Jules Barbier/Michel Carré
Mignon
Christine Nilsson

Wilhelm Meister
Victor Capoul

Philine
Alwina Valleria

Lothario
Giuseppe Del Puente

Frédéric
Sofia Scalchi

Laërte
Baldassare Corsini [Debut]

Jarno
Ludovico Contini


Conductor
Auguste Vianesi


Director
Mr. Corani

Director
Mr. Abbiati

Set Designer
Charles Fox, Jr.

Set Designer
William Schaeffer

Set Designer
Gaspar Maeder

Set Designer
Mr. Thompson

Costume Designer
D. Ascoli

Costume Designer
Henry Dazian

Composer
Ambroise Thomas

Ambroise Thomas



Sofia Scalchi repeated the gavotte, "Ci sono. Ho tutto infranto"
The credits for Corani and Abbiati did not appear in company programs until the performance of November 21, 1883.
Mignon received eight performances in Italian this season.

Review 1:

Review in The New York Times

AMUSEMENTS: MME. NILSSON AS MIGNON

It will be 12 years in this month of November since Christine Nilsson was first heard here in Ambroise Thomas's "Mignon." The fair Swedish singer had only a month before made her first appearance in opera in America, and the marvelous charm of her voice and her impassioned and general acting formed the chief sensation of the hour. The opera itself was then entirely new to this public, but it was destined to fill an important place in the repertory of all Italian opera companies visiting this country thereafter. The popularity which has been so long retained by M. Thomas's ingenious and dainty work is owing, in a large measure, to the impression made upon its first production by the Mignon of Mme. Nilsson. Other impersonators of the forlorn gypsy maiden have obtained some portion of the public favor in the meantime. The sensuous charm of Lucca's voice has been acclaimed with its music, and Mme. Marie Rôse has sung the part, while Paola Marié has frolicked in it, to mention only a few of them; but the Mignon of Nilsson has remained the ideal Mignon, and the memory of its ineffable charm has not vanished as the years have fled.

It was the hope of seeing again this exquisite embodiment of the protégé of Wilhelm Meister that an audience assembled in the new opera-house last evening which filled all the boxes, crowded the lower floor, both the stalls and the standing room, and left comparatively few vacant places in the upper circles. "Mignon" was to be the opera and Nilsson was once more to be the heroine. It would be pleasant to be able to write that the hope was entirely realized. The performance presented many feature of interest, and as a whole was enjoyable, although it was too evident at times that affairs upon the stage were not going forward with that perfect smoothness which a good conductor seems to obtain. The chorus was occasionally a trifle shaky, and, although the work of the band was generally done in a most efficient manner, yet the brass was at certain points entirely too noisy, as it has been hitherto in almost every representation given at this house.

It would be futile to ignore the fact that the dozen years that have elapsed since the first production of 'Mignon" have not left their traces, slight though they may be, upon Mme. Nilsson's face and form. She is no longer the same airy Mignon that she was in 1871 and the few succeeding years; but that is a fact of small moment while the distinguished prima donna still retains her noble and powerful voice, and the complete mastery of it, which she displayed last evening. Musically there is very little now lacking in Mme. Nilsson's interpretation of this rôle that formerly belonged to it. But her most ardent admirers could not fail to note the absences of that buoyancy in the earlier scenes of the opera, in which her skill as a comedienne used to be heartily admired. There was no lack of tragic force later in the action and as a whole the performance was decidedly a strong and effective one. The familiar points made by the artist were recognized with cordiality, and her singing was amply rewarded with cheers and floral gifts. The "Non, Conceal il be suo!" was rendered in that same plaintive and simple style as of yore, and was loudly redemanded, although the singer would not repeat this air. The graceful "Swallow duet," with Signor Del Puente and the fascinating "Styrienne" were both agreeably rendered, while the most potent charm of Mme. Nilsson's voice and manner was exerted in the apology to Guglielmo after the discovery of her freak in Fillina's dressing-room. In the closing scenes she sang and acted with irresistible effect.

M. Victor Capoul was the original Guglielmo in this City. We did more than tolerate this ambitious and energetic artist in those days; we all applauded, and some of us admired him. His face is not unfamiliar here at the present time. Although for quite an interval M. Capoul has not been heard in Italian opera, he has been among us, and it seems to be only the other day that he was chanting "Les femmes it n'y a qua ga" at one of the theatres. Time has not dealt harshly with M. Capoul, and his fervor has be no means abated. He was very fervid last evening; but it is doubtful if Mr. Matthew Arnold would have much hope left of our "remnant" after the sighs of 3,000 good-looking and well-dressed New Yorkers eagerly applauding one of the French tenor's head notes.

Mme. Scalchi's noble voice was heard with unmistakable delight. The quaint gavotte, which she sang with wonderful taste, was encored. Her performance of the frivolous Federico will not suffer by comparison with any that have preceded it in the City. Mme. Valleria's rendering of the part of Fillina was as conscientious and well sustained as ever. Her pure and flexible voice added brilliancy to the ensemble passages, although she did not seem to sing with her usual spirit in the famous Polacco. Signor Del Puente was painstaking as the aged minstrel. As we have already intimated, however, last night's performance was by no means the best that Mr. Abbey's artists have given.

Photographs of Christine Nilsson by Gurney & Son

Photograph of Sofia Scalchi by Mora



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