[Met Performance] CID:2240



Carmen
Metropolitan Opera House, Mon, March 17, 1884


In Italian



Carmen (9)
Georges Bizet | Henri Meilhac/Ludovic Halévy
Carmen
Zelia Trebelli

Don José
Italo Campanini

Micaela
Alwina Valleria

Escamillo
Giuseppe Del Puente

Frasquita
Ida Corani

Mercédès
Louise Lablache

Remendado
Amadeo Grazzi

Dancaïre
Baldassare Corsini

Zuniga
Ludovico Contini

Moralès
Achille Augier

Dance
Malvina Cavalazzi


Conductor
Cleofonte Campanini







Review 1:

Review in unnamed newspaper:

METROPOLITAN OPERA HOUSE

Signor Campanini's return to the stage of the Metropolitan Opera House was appropriately celebrated last night by the production of "Carmen." The distribution of characters and the stage decorations were the same as at the performances of Bizet's kaleidoscopic work in the fall season. The triumphs of the evening were won by Signor Campanini, whose exhibition of histrionic ability of the highest order we have frequently had occasion to commend, even while deploring the loss of freshness and compass in his voice. Fortunately for the lovers of manly energy and good art in singing, his voice last night was in as good condition as it has been at any time this year, and he was able to maintain his musical performance on the same high plane on which his action is always found.

The merits of Mme. Trebelli's Carmen must be looked for outside the representation which has ranked as ideal ever since Bizet's charming work was first introduced here. The warmth and color which we naturally associate with the piquant gypsy has little or no part in her depiction. She brings out with a good deal of vividness the essential wickedness of the part, and to this extent makes the moral lesson clearer. But the moral lesson is not the element which has endeared "Carmen" to the public. The allurement has always been that of a siren for whom we like to find extenuation and defense because of her loveliness. Mme. Trebelli's representation does not challenge sympathy of even this dubious quality. It has, unquestionably, features of excellence on both its musical and histrionic sides, but they are not so numerous as to offset the lack of the essential things, and, it is marred, besides, by frequent impurities of intonation.

Mme. Valleria was the Micaela, the extension of her engagement with Mr. Abbey having prevented her from sailing for England as she proposed doing today. She has shown herself so often, as she did last night, a tried and trusty singer, with voice, taste and intelligence in quantity and quality satisfactory to a high standard, that her retention in Mr. Abbey's company for the too brief spring season is a matter of public congratulation. Signor Del Puente was the dashing bull fighter with whom American operagoers were long ago familiar.



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