[Met Performance] CID:136050

La Forza del Destino
Metropolitan Opera House, Sat, November 27, 1943 Matinee Broadcast

Debut : Frederick Lechner

La Forza del Destino (54)
Giuseppe Verdi | Francesco Maria Piave
Stella Roman

Don Alvaro
Frederick Jagel

Don Carlo
Lawrence Tibbett

Padre Guardiano
Ezio Pinza

Anna Kaskas

Fra Melitone
Salvatore Baccaloni

Marquis de Calatrava
Frederick Lechner [Debut]

Thelma Votipka

Lorenzo Alvary

Alessio De Paolis

John Gurney

Nina Youskevitch

Alexis Dolinoff

Michael Arshansky

Bruno Walter

Herbert Graf

Set Designer
Ernest M. Gros

Set Designer
James Fox

Set Designer
Joseph Novak

Costume Designer
Witold Gordon

Laurent Novikoff

La Forza del Destino received four performances this season.
Gros designed the sets for the Church of the Madonna, the encampment and the Cloister of the Madonna; the other sets were created by scenic artist J. Fox; J. Novak painted a vista of classical ruins inserted as a backdrop for the encampment scene.

Review 1:

Review of Leonard Liebling in the Musical Courier

"La Forza del Destino" under Walter

The November 27 Saturday matinée of the Verdi musical melodrama presented much excellent singing and acting as credible as possible with such a fustian and unconvincing libretto. Stella Roman did the chief soprano role, and with telling vocalism on the whole, although there was too much use of pianissimo and head tones. Lawrence Tibbett made an imposing picture of the somber vengeful Don Carlos, and delivered his music with utmost meaning and artistic taste. His big duet with Frederick Jagel (Alvaro) found him matching that tenor in fullness and ring of utterance. Ezio Pinza was a towering and dignified Abbott. Frederich Lechner made his local debut, and as the Marquis revealed a useful voice. Salvatore Baccoloni ran away with the comedy of the opera, and his Friar Melitone had rollicking humor and ideally purposed singing. Anna Kaskas somewhat overdid the impetuosity of Preziosilla. Bruno Walter let the welkin ring with his orchestra and emphasized all the fine frenzies and lyric sobs of the score. After the second act overture the auditors were amused when a lone stentorian voice in the balcony, shouted "Bravo Bruno."

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