[Met Performance] CID:101980

United States Premiere, New Production

Fra Gherardo
Metropolitan Opera House, Thu, March 21, 1929

Fra Gherardo (1)
Ildebrando Pizzetti | Ildebrando Pizzetti
Fra Gherardo
Edward Johnson

Maria Müller

Old Woman
Ina Bourskaya

Squint-Eye/Red-haired Man
Louis D'Angelo

Giordano Paltrinieri

Blind Man
Paolo Ananian

Everett Marshall

Aida Doninelli

Angry Voice
Henriette Wakefield

Millo Picco

Fred Patton

Woman/Woman's Voice
Phradie Wells

Pavel Ludikar

Angelo Badà

Julia Claussen

Merle Alcock

Young Friar
Marek Windheim

Mario Basiola

Vincenzo Reschiglian

Ezio Pinza

Arnold Gabor

Podestà's Assessor
George Cehanovsky

Tullio Serafin

Armando Agnini

Set Designer
Joseph Urban

Fra Gherardo received received five performances this season.

Review 1:

Review of Lawrence Gilman in The New York Herald Tribune:

From the parting of the curtains upon Mr. Urban's conception of thirteenth century Parma to the end of the work was heard with respect. Of course, it was applauded - everything is applauded at the Metropolitan, even masterworks. But there is reason to wonder if the new piece brought unalloyed joy to many of its hearers. Pretty tunes have always been the justification of opera for the average man. But there are few of them in "Fra Gherardo" and it is a question if Pizzetti has supplied anything that is likely to take their place in the regard of the general opera goer.

There is not a doubt in the world that Pizzetti is a scholar and a good musician, that his musico-dramatic ideals are of the highest, that he has a poetic nature, strong convictions, intellectual sobriety. All this is admittedly to the good; but, alas, it has little to do with the creation of music. Pizzetti has given, in "Fra Gherardo," a score that is conspicuous for intellectual substance and ingenuity and fine craftsmanship. But none of these desirable qualities has enabled him to turn his aesthetic conscience into eloquence, or his seriousness into telling power, or his fineness of feeling into beauty. This music is essentially sterile. It is music of the will, of aesthetic piety, and good intentions.

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