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[Met Tour] CID:156110



Cavalleria Rusticana
Pagliacci
American Academy of Music, Philadelphia, Pennsylvania, Tue, February 20, 1951









Review 1:

Linton Martin in the Philadelphia Inquirer

Met Offers Classic Double Bill at Academy

 

Grand opera’s “ham and eggs.” The almost always inseparable double bill of “Cavalleria Rusticana” and “Pagliacci,” was given as the third of the five Metropolitan Opera performances scheduled for the season in this city at the Academy last night. A close-to-capacity crowd cordially acclaimed the singers in both casts, none of whom had previously appeared here with the Metropolitan in their respective roles in these operas, though most of them were more or less familiar in other offerings.

 

The present production of these operatic twins had been heralded here and in New York as being radically “restudied and restaged” under Rudolf Bing, the Met’s new manager, and consequently were eagerly awaited. But it is disclosing no state secrets to say that they were saluted on Broadway, a month ago, with more brickbats than bouquets, in about as bitter a barrage of unbuttoned Billingsgate as can be recalled in recent seasons.

 

CASTS ARE STRONG

 

However, if the Metropolitan’s season subscribers in this city were unduly bothered by or about any flagrantly officious or fussy details of departures from the customary staging of these excessively familiar favorites of the operatic repertoire, it was not apparent in the applause for the principals.

 

Which was as it should be. For, after all, the singers come first, or they should at least in typical Italian opera, and the casts recruited for the current occasion were strong, if not exactly superlative in comparison with the standards of the golden era of opera.

 

As a matter of fact and fairness, most of Bing’s brigade today need not be embarrassed at mention of the singers heard here when the Met last paired “Cav” and “Pag” on the stage of the Academy on Dec. 20, 1927. At that time the Mascagni opus enlisted Jeritza, Jagel and Bourskaya, while Martinelli, de Luca, Tibbett and Queena Mario sang Leoncavallo’s music.

 

SCORES AS SANTUZZA

 

Chief vocal honors last night were won by Zinka Milanov for her sumptuous singing as Santuzza. She put into her opulent and colorful tones the intensity that was missed in her conventional though adequate acting. Others in the “Cavalleria” cast were effective if not especially outstanding were Richard Tucker as Turiddu, Martha Lipton as Lola, Clifford Harvout as Alfio, and Jean Madeira as Mamma Lucia.

 

In “Pagliacci” Ramon Vinay sang Canio with sufficient vocal volume, but indifferent, lackluster style, and his acting seemed oddly inhibited. Delia Rigal made a rather negative Nedda, vocally and dramatically, but she presented a piquant and personable appearance just right for the role. Leonard Warren’s beautiful baritone voice was well placed as Tonio.  Frank Guarrera as Silvio, and Thomas Hayward, made the most of their parts.

 

Alberto Erede conducted capably, and the chorus sang with a will.

 

The curious, incongruous settings and the inept handling of the chorus cannot be discussed in detail in this limited space. It must suffice to say that they defeat their own aims and ends.

Search by season: 1950-51

Search by title: Cavalleria Rusticana, Pagliacci,



Met careers

• Alberto Erede [Conductor]
• Zinka Milanov [Santuzza]
• Richard Tucker [Turiddu]
• Martha Lipton [Lola]
• Clifford Harvuot [Alfio]
• Jean Madeira [Mamma Lucia]
• Delia Rigal [Nedda]
• Ramon Vinay [Canio]
• Leonard Warren [Tonio]
• Frank Guarrera [Silvio]
• Thomas Hayward [Beppe]