[Met Performance] CID:98770

Metropolitan Opera House, Fri, March 9, 1928 Matinee

Review 1:

Review of Leonard Liebling in the American


Yesterday afternoon was a pleasurable one for opera-goers and a beneficial one for the Free Milk Fund for Babies, Inc,, of which Mrs. William Randolf Hearst is chairman. Each season the organizers of this fine charity arrange an opera matinee at the Metropolitan in aid of their fund, and the performance of yesterday was "Carmen," with Maria Jeritza in the title role, and Edward Johnson taking the part of the romantic Don José.

The Metropolitan management and staff and all the singers engaged in the performance cooperated in every way to make the afternoon profitable for the tiny beneficiaries. Mme. Jeritza arrived in New York today from her concert tour and went directly from the train to the opera house. Mrs. Hearst cut short her stay in Palm Beach and returned to the city recently to assist her committee in the final details of the ticket-selling campaign.

Opera House Packed

A crowded house, which included many fashionable persons and notables of the stage, heard an especially spirited performance. Mme. Jeritza making her final appearance of the season here (she will sail for Europe tomorrow) gave everything she has in voice and acting to make her presentation register strongly. Her version of the delectable charmer has been estimated critically and needs no added comment at this time.

The audience made the Jeritza farewell an occasion for a striking bestowal of applause and recalled the artists so many times that some one remarked: "If they don't let her go she may have to hurry directly to the steamer from the stage, costume, comb, splendiferous Spanish shawl, and everything."

Edward Johnson was a worthy partner of Mme Jeritza in point of vocal art and a close second to that lady in popularity. He makes a dashing figure as Don José, and sings with typically French fluency and grace. The Micaela of Queena Mario, who put tonal appeal and much feeling into her attractive airs, particularly those in the third act.

A fiery and full-voiced Toreador was Mario Basiola, and his chief song brought him a rousing response from the hearers. Others who completed the cast were Charlotte Ryan. Merle Alcock, Millo Picco, Angelo Bada, Louis D'Angelo and George Cehanovsky. Louis Hasselmans conducted with an enthusiasm in keeping with the simulative cause that inspired the performance.

Rosina Galli's graceful terpalchorean contributions made the ballet episodes particularly striking.

Search by season: 1927-28

Search by title: Carmen,

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