Metropolitan Opera Archives

Verdi's "La Traviata" received an effective and well-rounded presentation yesterday afternoon at the Metropolitan Opera Licia Albanese assumed the role of Violetta, which she had not sung here previously, and Lawrence Tibbett, the elder Germont of the cast, made his first appearance of the season at this performance.

Refinement was the keynote of Miss Albanese's portrayal, both vocally and histrionically. This attitude toward the part was doubtless the one Verdi desired, for it is completely in line with the character of the music he penned for it. Miss Albanese's interpretation was sincere and artistic, simple and direct. A singer with a heavier voice can achieve greater brilliance in the first act, and a more emotional treatment of the second act is often encountered, but Miss Albanese's work as a whole was to be praised for its restraint and its avoidance of the slightest hint of bathos.

By the time the duet with Alfredo was reached in the [first] act Miss Albanese's voice was warmed up, and from then on her singing was admirable in its clarity and precision. For the most part she favored pianissimo effects in the lower half of the range, letting the tones flower out in the upper register. The singer was especially to be commended for her treatment of these top tones, which were invariably free, full and under absolute control. The ringing high C's in the "Sempre libera" were notable in beauty, and the entire aria disclosed the artist's sure command of the art of coloratura. In the duet with Germont all of the essential details were carefully attended to, while Violetta's closing phrases in that part of the opera were delivered with stirring emphasis.

Miss Albanese and Charles Kullman, the Alfredo, made an unusually youthfully looking pair, and this helped to give the performance an added sense of reality. Mr. Kullman's voice was in fine condition. His tones were relaxed, rich and warm, and he sang fervently and well.

Mr. Tibbett was dignified and impressive as Germont. He accomplished some of his best vocalism in the "Di Provenza il mar," a thoroughly impressive example of expert singing, surer in its handling of upper tones than proved true in the preceding duet with Violetta. The lesser roles were all in competent hands. Cesare Sodero conducted with insight and authority.?

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