[Met Tour] CID:139580



La Bohème
Public Hall, Cleveland, Ohio, Thu, April 19, 1945




La Bohème (383)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Mimì
Bidú Sayão

Rodolfo
Jan Peerce

Musetta
Frances Greer

Marcello
John Brownlee

Schaunard
George Cehanovsky

Colline
Ezio Pinza

Alcindoro/Benoit
Salvatore Baccaloni

Parpignol
Lodovico Oliviero

Sergeant
John Baker


Conductor
Cesare Sodero







Review 1:

Review of Herbert Elwell in the Cleveland Plain Dealer

Bidu Sayao and Jan Peerce Share 'La Bohème' Honors

Another capacity audience at Public Hall last night found thrills in the Metropolitan Opera's production of Puccini's "La Bohème" and responded with marked enthusiasm to the excellent work of a cast which lived up to the expectations aroused by the number of celebrities included in it.

Bidu Sayao, Frances Greer, Jan Peerce, Salvatore Baccaloni, Pinza, Brownlee, Cehanovsky, Oliviero and Baker made this one of the most enjoyable "Bohème"s heard here for some time. Such an assemblage of talent could hardly fail to bring charm and fascination to an opera which perhaps more than any other, embodies ideals of romanticism and liberalism of a past era that have carried over into the present.

The Latin Quarter of Paris as depicted in this opera more or less ceased to exist after the last World War. But its spirit goes marching on, and the problems of art and love in an attic seem as real to contemporary audiences as they did a half century ago.

In many ways Sayao makes an ideal Mini. She is attractive, has the right stature and simulates the shyness and naiveté of Murger's pathetic little heroine with perfect ease. Moreover, she can sing with persuasiveness and warmth that makes her love for Rodolfo entirely convincing.

Vocally the Rodolfo of Jan Peerce was first rate. His tenor had stirring vibrancy and melting warmth, which gave it all that was needed to make it the typical vehicle of the impassioned lover. He showed complete mastery of the part and won well deserved applause.

Rodolfo's impoverished associates in the garret of artiste atmosphere but low temperature were skillfully impersonated. Pinza, Brownlee and Cehanovsky gave to these roles all the high spirits they require, and each sang with splendid vocal artistry.

Baccaloni, who is one of the Metropolitan's most expert comic artists, enlivened the stage with laughable caricature in two roles, that of the landlord, Benoit, who is given the run-around by his prankish tenants, and that of Alcindoro, the well-heeled admirer of Musetta who gets stuck with the bill at the Café Momus.

Frances Greer was altogether fetching in the part of Musetta. Her singing was as brilliant as her acting was vivacious and charming. High praise, in fact, goes to every member of a cast and chorus, perfectly trained to comply faithfully with the traditions of the opera and bring out its most attractive features. Presiding over the performance was Cesare Sodero, who showed an experienced hand in releasing the best in Puccini's sensuous and intoxicating melodic fabric.



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