[Met Tour] CID:99230

Le Prophète
American Academy of Music, Philadelphia, Pennsylvania, Tue, April 10, 1928

Le Prophète (73)
Giacomo Meyerbeer | Eugène Scribe
Jean of Leyden
Giovanni Martinelli

Editha Fleischer

Karin Branzell

Ezio Pinza

Alfio Tedesco

Louis D'Angelo

Count Oberthal
Léon Rothier

Max Altglass

Vincenzo Reschiglian

George Cehanovsky

Minnie Egener

Philine Falco

Mildred Parisette

Mary Bonetti

Dorothea Flexer

Charlotte Ryan

Giuseppe Bonfiglio

Rita De Leporte

Wilfred Pelletier

Review 1:

Review in the Philadelphia Bulletin


'Le Prophete' Concludes Metropolitan Company Performances at Academy

A lavish performance of "Le Prophete," Meyerbeer's opera in four acts and nine scenes on the life and death of John of Leyden, concluded the 1928-28 season of the Metropolitan Opera Company at the Academy of Music last night. Twenty-one performances were given since the [first night], November 1, but in none of these was there more visual splendor than in the performance last night.

The ballet appearing in the first two acts introduced the novelty of roller skating braving the possible criticism of pedantic historian who may question this as an outdoor sport of sixteenth century Holland. For the cathedral scene (Act III, Scene 2) a band on the stage supplemented the orchestra and the chorus was of mammoth size.

Outstanding performances were Karin Branzell, contralto as Fides, the mother of John of Leyden, and Editha Fleischer as Bertha, the fiancée who is taken from him and thus paves the way for his fanatical religious warfare. Miss Fleischer's clear soprano voice was of lovely quality throughout an extended range and flexible in the vocal ornamentation with which the part is supplied. Miss Branzell's singing was characterized by richness and beauty with admirable control. She gave fullness and molded tone to her lower notes and displayed remarkable skill in handling the runs and trills in her bravura passages.

Giovanni Martinelli in the tenor role of John of Leyden, failed to bring the necessary fire and spirit to the part. His voice at times seemed strained and his biggest dramatic moments, notably the call to arms, which brings down the curtain on the second act, failed to create their full impression. The Count Oberthal of Leon Rothier was satisfactory, and the singing of Alfio Tesdesco, Louis d'Angelo and Ezio Pinza met the requirements of the music. The minor parts were well handled. Artur Bodanzky conducted with spirit and his rendition of the instrumental [beginning] of the cathedral scene was particularly well done.

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