[Met Tour] CID:150580



Mignon
Fair Park Auditorium, Dallas, Texas, Sat, April 23, 1949 Matinee





Mignon (106)
Ambroise Thomas | Jules Barbier/Michel Carré
Mignon
Risë Stevens

Wilhelm Meister
Giuseppe Di Stefano

Philine
Patrice Munsel

Lothario
Jerome Hines

Frédéric
Jean Madeira

Laërte
Leslie Chabay

Jarno
Osie Hawkins

Antonio
Lawrence Davidson

Dance
Alfred Corvino

Dance
William Murrill

Dance
Marina Svetlova

Dance
Leon Varkas


Conductor
Wilfred Pelletier







Review 1:

Review of John Rosenfeld in the Dallas Morning News:

Matinee Throng Hears "Mignon" and Two Divas

Whatever the banalities of Ambroise Thomas' "Mignon," it is decidedly useful to a Metropolitan Opera tour through the land where banalities are not necessarily hackneyed. Of principal roles there are several and they can be as interesting as the singers make them. As oases of delectable familiarity there are Mignon's "Connais-tu le Pays," Philine's Polanaise and Frederic's Gavotte. Mignon's "Styrienne" and the graceful duet, "Legeres Hirondelles," are accessible and tuneful surprises.

The Saturday matinee audience at State Fair Auditorium, exceeding capacity and including many men with their women and children, heard "Mignon" with evident delight. It was a sound rather than brilliant, performance with youth and young voices rather than age and seasoned-virtuosity. Wilfred Pelletier conducted with grace and without hurry or, for that matter, without much incisiveness.

MR. DI STEFANO

The most exciting singing was done by Giuseppe Di Stefano, one year older and several pounds more substantial than when he sang Des Grieux here last season within the first few months of his American arrival. At twenty-seven the young Italian tenor has not yet matured artistically, but he shows increasing volume and more expressiveness and definite gains in security and authority. Mr. Di Stefano is the most promising of the postwar tenors of his school with a voice of bright color, flexibility and easily soaring range. If pasta and antipasto don't get him, he is a romantically personable figure.

As Carre and Barbier's opera comique version of a Goethe hero Wilhelm Meister, he sang and acted, sympathetically. Rise Stevens, one of the bona fide divas of the company was a mature, hearty and competent Mignon. Her vocalism was evener than in previous appearances here. She sang the Styrienne with abundant verve; in fact she sang everything well except the "Connais-tu le Pays," which had curious want of color and sincerity.

The baby coloratura, Patrice Munsel, did not measure in size and deportment to the coquetries of Philine, the sophisticated actress, although she went through the motions with routine. The Polonaise, "Je Suis Titania," was, of course, the reason she was there and she won a mighty hand for it. his stop-action show-piece was negotiated cleanly and the voice sounded less breathy than when we last heard it. Miss Munsel's ovation went to her discretion, as well as her talent, for she closed the number with a daring, penultimate transposition.

Jean Browning-Madeira, a young mezzo, was much legs and many knees in the male costume of Frederic, who was a decidedly pettish youth in her impersonation. Her voice was darkly rich and she sang admirably.

HINES, THE BASSO

Still on the tentative side but well-endowed was the Lothario of the young Jerome Hines, American basso. The voice is a noble one, not yet suave and unclouded, but commanding and capable of eloquence. Leslie Chabay, the tenor, was entertaining with vocal and pantomimic antics as Laerte, replacing John Garris. Osie Hawkins and Lawrence Davidson were heard in small roles.

The gypsy dance of Act I was opera balletics of a superior class, thanks to Marina Svetlova, a dainty and technically resourceful ballerina. She was assisted by Leon Varkas, among others, and the whole corps directed by Boris Romanoff.

If one prefers, attendance at "Mignon" can be used as credit for the observance of this year's Goethe Bicentennial. Goethe's "Wilhelm Meister" is the source of the story, but the French librettists made certain to strip it of philosophical import. It is merely a mid-nineteenth century theatrical stencil colored by the life of most such parties, gypsies.

AMBROISE THOMAS

Ambroise Thomas' score is journeyman music with phraseological contours and approaches to other problems showing a dependence on Gounod of "Faust" fame. Never great music, "Mignon" has been successful lyric theater for its entire existence. The Soudeikine settings were inoffensive except for the baronial boudoir, which looked rather vintage.

Review 2:

Maurine Halliburton in the Dallas News

Weekend of Opera a Rich Feast Of Music

 

Saturday’s operatic fare offered by the Metropolitan Opera Company at Dallas was, in the afternoon, “Mignon,” three act comic opera with music by Ambroise Thomas and book by Michel Carre and Jules Barbier; at night, Mozart’s “Le Nozze di Figaro,” libretto by Lorenzo da Ponte.

 

In these two, entertainment of a lighter nature, with amusing situation and gay, enchanting music was interposed between the heavier operas of “Otello” and “Aida,” the latter presented Sunday.

 

In “Mignon,” Rise Stevens sang the title role. Her lovely mezzo-soprano voice and charming interpretation of the gypsy girl gave warmth and depth to the part. This is a role familiar to the singer. She made her first opera appearance in it in 1936 in Prague, and her Metropolitan debut in the same role two years later.

 

Patrice Munsel, baby coloratura soprano, lent beauty to the role of Philine sung with a youthful insouciance rather than the sophistication the role calls for, but her voice was pleasant, especially in “Je suis Titiania,” and, in my opinion, throughout the opera. My ear is impressed often by what I see and La Munsel is easy on the eyes.

 

The tenor role of Wilhelm Meister was sung by the Italian tenor, Giuseppe di Stefano. Although young, he has a voice of good range and handles it understandingly, giving a more than adequate performance. Jerome Hines, basso, sang Lothario with astounding ease and sympathy, his great voice fitting the role and promising much for the career of this young American singer. Leslie Chabay, in excellent voice, appeared as Laerte and gave a lively performance in the role that earlier was assigned to John Garris. Osie Hawkins, baritone, as Jarno and Lawrence Davidson, as Antonio, displayed ability in the scope of their roles, while Jean Browning Madeira, mezzo, impersonating Frederick, the elegant youth, was strictly feminine in her masculine attire. However, she is the possessor of a beautiful voice.

 

Summer heat in Dallas this weekend oppressed actors, musicians and audience alike. The hall was steaming much of the time with no ventilation system working. Outside, roses and other summer flowers were blooming with true southern abandon, bringing forth exclamations of amazement and admiration from opera-goers to and from Fair Park.



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