[Met Performance] CID:153030



Simon Boccanegra
Metropolitan Opera House, Wed, March 1, 1950




Simon Boccanegra (26)
Giuseppe Verdi | Francesco Maria Piave/Arrigo Boito
Simon Boccanegra
Leonard Warren

Amelia
Astrid Varnay

Gabriele Adorno
Richard Tucker

Jacopo Fiesco
Luben Vichey

Paolo Albiani
Hugh Thompson

Pietro
Lorenzo Alvary

Maid
Maxine Stellman

Captain
Paul Franke


Conductor
Fritz Stiedry







Review 1:

Robert Bagar in the World-Telegram and Sun

Verdi’s “Simon” at Met A Rousing Spectacle

 

The rousing music and spectacle of Verdi’s “Simon Boccanegra” captivated still another huge audience at the Metropolitan last evening. No major changes in the cast, excepting the presence of  Lubomir Vichegonov in the part of Fiesco.

It is worth dropping in more than once on some of the better productions of the present repertory. One doesn’t know when, after this season, they may be done again. Probably, as things look, not for years.

In “Simon” Verdi is as , as sure in his writing as we find him to be in such works as “Trovatore” or “Forza” or “Masked Ball,” He betrays no uncertainties in choice of melodies for different set pieces and he appears to be, as always, in complete command of his resources when writing for the chorus. Certainly there is no more dramatically exciting moment in all opera than the rising whispers of the chorus in Act II.

 

Roles That Make Stars

 

The roles in this opera are the sort that make stars, not – as in other cases – the other way around. The Doge himself, Adorno, Amelia, Fiesco, and one of the two sinister boys, Paolo, are positive, compelling characters and their music is what makes them so, both as individuals and as group elements.

Of course, the story, as everybody knows by now, isn’t as clear as it might be. The plot convolutions are many and involved. But, really, who cares about such matters  when there is such forceful and immediate appeal in the quality of the score?

To return to last evening’s performance, Mr. Vichegonov sang and acted his role (as much as I saw of it) with ease in an ingratiating manner. He both looked well and moved well on stage and was sympathetic in the part of the old nobleman.

Astrid Varnay sang with all the intensity she could muster up, and effectively too. Leonard Warren, it is almost needless to say, gave a powerful rendering of Simon. Richard Tucker again sang beautifully in the mercurial part of Adorno. And Hugh Thompson, as Paolo, and Lorenzo Alvary as Pietro added their stints to the general luster of the evening.

The chorus and orchestra were all in good order and Mr. Stiedry’s conducting saw to that it should be so.



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