[Met Tour] CID:125120

American Academy of Music, Philadelphia, Pennsylvania, Tue, February 14, 1939

Louise (27)
Gustave Charpentier | Gustave Charpentier
Grace Moore

Charles Kullman

Doris Doe

Ezio Pinza

Helen Olheim

Maxine Stellman

Lucielle Browning

Irra Petina

Marisa Morel

Camille/Artichoke Vendor
Thelma Votipka

Pearl Besuner

Anna Kaskas

Errand Girl/Street Arab
Natalie Bodanya

Maria Savage

John Gurney

Louis D'Angelo

Max Altglass

Carlo Coscia

Wilfred Engelman

George Cehanovsky

Nicholas Massue

Giordano Paltrinieri

George Rasely

Norman Cordon

Birdfood Vendor
James Demers

Pope of Fools/Carrot Vendor/Noctambulist
Alessio De Paolis

Maria Gambarelli

Ettore Panizza

Review 1:

Review in the Philadelphia Record

Grace Moore Sings Title Role of "Louise" Here

Grace Moore of Hollywood and the Riviera who for some seasons past has aspired to be known as "Grace Moore of the Metropolitan" took her first step in that direction as far as Philadelphia is concerned by appearing in the title role of "Louise" in the Academy of Music last night. was Miss Moore's first appearance here in three-dimensional opera and in the Metropolitan Opera Association's first "Louise" at Broad and Locust Streets in eight years. The house was jammed by a brilliant audience which received Miss Moore warmly with every evidence of well-bred affection.

Careful and Competent

And well-bred approval was just about what the evening's debutante deserved. Miss Moore's "Louise" was careful, competent and well sung, but no occasion for cheers. Her vocal style still lacks distinction. She sings by the book in an emotional language quite innocent of nuance or inner realization. Her voice, though pleasant and eminently musical in the middle register is uncertain at the top. Likewise, in her dramatic performance last night, Miss Moore lacked conviction by many syllables. She is apparently still too much the attractive, normal 100 percent inhibited American girl to stir your pulse unduly as a wistfully passionate glamour-struck little seamstress of Charpentier's imagination.

Stuffed Bird Hats

These comments, however, are made in appraising Miss Moore by the highest Metropolitan standards, and should not be taken as meaning that her debut was entirely a gilded shell. In the credit side are Miss Moore's charming appearance in the shirtwaists and stuffed-bird straw hats of the period, her evident sincerity and careful preparation for the part and her creditable delivery of the opera's key aria - "Depuis le jour." And her debut can be called a success, though artistically on a modest scale.

In any case, "Louise" is not notably a vehicle opera. The real heroine of the piece is not the leading soprano, but Paris - the "City of Light" at the turn of the century, the street cries and sidewalk vendors of its humble faubourgs, its Bohemian café loiterers, its masquerading festivities on Montmartre; and its workmen's tenements, odorous of onion soup and bourgeoisie thrift.

Superb Production

All this was beautifully realized last night in a superb production, with a handsome view of Paris by night from Montmartre and an expert handling of the choruses and street scenes which brought these two off-stage heroes, Stage Director Désiré Defère and Chorus Master Fausto Cleva, very much to the fore.

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