Metropolitan Opera Archives

The best stage presentation of the week and the best-interpreted opera was Mozart's "Nozze di Figaro" (The Marriage of Figaro), given yesterday afternoon in the Metropolitan Opera House. There "Figaro" moves at a brisker pace than in any other lyric theatre we have visited. There an eighteenth century comedy of incomparable musical inspiration and esprit is made a very good show, to the delight of the public.

Whether this presentation comes near the Mozart tradition as exemplified by interpretations of the opera under famous European leaders is something else again. Here the style is not so courtly, but everything is youthful, alive, intelligent and in the essential spirit of the piece. In the light of such an interpretation it is possible for this generation to understand why "Figaro" had such immense popularity when first it saw the light in 1786, why quadrilles and all sorts of arrangements and potpourris from the work were hawked about Vienna and Europe-why, in other words, the opera became quickly a popular favorite of its day.

This also is to be noted: That in spite of greater casts in earlier seasons, no audiences of those years appears to have taken as much pleasure in the opera itself, irrespective of "stars" and their reputations, as those of this Winter and last at the Metropolitan. The applause yesterday showed clearly that a performance with dramatic life and enthusiasm, intelligently unified, is the basis of a popular production.

The cast yesterday differed in two important respects from that of last season. The first was the debut of Salvatore Baccaloni as Bartolo, the second the appearance of Licia Albanese as Susanna. Mr. Baccaloni is an admirably schooled buffo of the old school. He sings with authority and relish, and he drove each one of his scenes home. More will be said of his later performances. Miss Albanese is better for the Susanna role than for grander parts which require a greater voice, and is well in the character.

The charm, vivacity and distinction of Miss Novotna's Cherubino was again one of the most delightful features of this performance. Others appear in their roles to better or lesser advantage than in other parts. She will be long associated with Cherubino, we hope frequently this season, and in seasons when her name is a memory. Miss Rethberg, of highest artistic intention, was not so fortunate. Mr. Brownlee's Count, a good honest job, and Mr. Pinza's Figaro of the resonant voice and the amusing ways are those of last season, and were fully appreciated by the audience.

Mr. Panizza's treatment of the score must be dismissed briefly here, but that is not faint praise, for it is an excellent interpretation.

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Search by title: Le Nozze di Figaro,

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