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[Met Tour] CID:148010
La Bohème
Public Auditorium, Cleveland, Ohio, Wed, May 12, 1948
La Bohème (417)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Review 1:
Review of Milton Widder in the Cleveland Press
Kirsten Superb in Met’s “La Bohème”
Cleveland has seen and heard a great many “La Bohème” performances in the 23 years the Metropolitan has been coming here, but I doubt whether any of them ever equalled last night’s perfectly wonderful singing of this Puccini masterpiece. It was by all odds the best re-creation of the week, so far, and the rest of the operas will have to “go some” to match it.
Everything dove-tailed to perfection and the brilliance of the singing by the principals and supporting cast, the work of the orchestra and Conductor Giuseppe Antonicelli (who is new on the roster), brought about a magnificent experience.
The largest audience of the week thoroughly enjoyed and appreciated the acting and singing of the American soprano – Dorothy Kirsten – whose interpretation of Mimi left nothing to be desired. How that girl has grown in stature the past few years is remarkable. Vocally she was superb – absolutely superb.
Some great sopranos have regaled local audience in that role, but none of them surpassed Kirsten’s singing of last night. Her’s was a dainty, simmering, most sympathetic Mimi – faultless in conception , most gratifying to hear and see.
Jan Peerce’s ringing , strong and brilliant tenor was a worthy Rodolfo to that Mimi. His acting unusually pliable, lovable and it definitely was a strong contribution to the success of the performance Never has he done the role with more verve and finesse.
Frances Greer’s Musetta had more fire and “devil-may-care” quality than any other Musetta on the Public Hall stage. Her coquette had immeasurable qualities that sparked the second act with her aria and the flouncing she did must have brought the blood of the most hardened opera goes to a boiling point.
The three friends of Rodolfo – sung by Baritones John Brownlee and Hugh Thompson, and Basso Nicola Moscona – also added much joy to the performance with their comedy and abandon. Thompson who sang the part of Schaunard here for the first time, did a distinguished job and Brownlee’s and Moscona’s work has been praised in these pages often. Moscona’s farewell to the coat in the last act was a thing of beauty, authoritatively delivered.
Salvatore Baccaloni’s two parts – as the landlord and Alcindoro – gave the added touches of buffoonery as only he can give them. The mere appearance of the man, and his makeup, are enough to evoke gales of laughter from the audience.
Conductor Antonicelli did a masterful job in co-coordinating the performance. The orchestra did a better job last night than at either of the other two operas of the week, and the chorus in the Café Momus scene animated the show with the correct touches.
Search by season: 1947-48
Search by title: La Bohème,
Met careers
La Bohème
Public Auditorium, Cleveland, Ohio, Wed, May 12, 1948
La Bohème (417)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
- Mimì
- Dorothy Kirsten
- Rodolfo
- Jan Peerce
- Musetta
- Frances Greer
- Marcello
- John Brownlee
- Schaunard
- Hugh Thompson
- Colline
- Nicola Moscona
- Alcindoro/Benoit
- Salvatore Baccaloni
- Parpignol
- Anthony Marlowe
- Sergeant
- Lawrence Davidson
- Conductor
- Giuseppe Antonicelli
Review 1:
Review of Milton Widder in the Cleveland Press
Kirsten Superb in Met’s “La Bohème”
Cleveland has seen and heard a great many “La Bohème” performances in the 23 years the Metropolitan has been coming here, but I doubt whether any of them ever equalled last night’s perfectly wonderful singing of this Puccini masterpiece. It was by all odds the best re-creation of the week, so far, and the rest of the operas will have to “go some” to match it.
Everything dove-tailed to perfection and the brilliance of the singing by the principals and supporting cast, the work of the orchestra and Conductor Giuseppe Antonicelli (who is new on the roster), brought about a magnificent experience.
The largest audience of the week thoroughly enjoyed and appreciated the acting and singing of the American soprano – Dorothy Kirsten – whose interpretation of Mimi left nothing to be desired. How that girl has grown in stature the past few years is remarkable. Vocally she was superb – absolutely superb.
Some great sopranos have regaled local audience in that role, but none of them surpassed Kirsten’s singing of last night. Her’s was a dainty, simmering, most sympathetic Mimi – faultless in conception , most gratifying to hear and see.
Jan Peerce’s ringing , strong and brilliant tenor was a worthy Rodolfo to that Mimi. His acting unusually pliable, lovable and it definitely was a strong contribution to the success of the performance Never has he done the role with more verve and finesse.
Frances Greer’s Musetta had more fire and “devil-may-care” quality than any other Musetta on the Public Hall stage. Her coquette had immeasurable qualities that sparked the second act with her aria and the flouncing she did must have brought the blood of the most hardened opera goes to a boiling point.
The three friends of Rodolfo – sung by Baritones John Brownlee and Hugh Thompson, and Basso Nicola Moscona – also added much joy to the performance with their comedy and abandon. Thompson who sang the part of Schaunard here for the first time, did a distinguished job and Brownlee’s and Moscona’s work has been praised in these pages often. Moscona’s farewell to the coat in the last act was a thing of beauty, authoritatively delivered.
Salvatore Baccaloni’s two parts – as the landlord and Alcindoro – gave the added touches of buffoonery as only he can give them. The mere appearance of the man, and his makeup, are enough to evoke gales of laughter from the audience.
Conductor Antonicelli did a masterful job in co-coordinating the performance. The orchestra did a better job last night than at either of the other two operas of the week, and the chorus in the Café Momus scene animated the show with the correct touches.
Search by season: 1947-48
Search by title: La Bohème,
Met careers