[Met Tour] CID:158190



Rigoletto
American Academy of Music, Philadelphia, Pennsylvania, Tue, December 4, 1951




Rigoletto (309)
Giuseppe Verdi | Francesco Maria Piave
Rigoletto
Leonard Warren

Gilda
Hilde Güden

Duke of Mantua
Richard Tucker

Maddalena
Jean Madeira

Sparafucile
Alois Pernerstorfer

Monterone
Norman Scott

Borsa
Paul Franke

Marullo
Clifford Harvuot

Count Ceprano
Lawrence Davidson

Countess Ceprano
Anne Bollinger

Giovanna
Thelma Votipka

Page
Margaret Roggero

Guard
Algerd Brazis


Conductor
Alberto Erede







Review 1:

Review of Linton Martin in the Philadelphia Inquirer
Met Gives ‘Rigoletto’ Before Overflow Crowd

Presenting its attractively restaged and intelligently restudied production of “Rigoletto” for the delectation of an overflowing and most enthusiastic audience, the Metropolitan Opera Association added another performance to its Verdi anniversary celebration in the Academy last night.

The commutative observances. In fact were combined on this occasion, though not on the dot and of any of the actual anniversaries, But in addition to the world-wide tributes to the 50th anniversary of the death of Italy’s greatest operatic composer, this year also makes the hundredth anniversary of “Rigoletto,” which has been going strong ever since its historic premiere in Venice on the night of March 11, 1851.

CUSTOMERS PLEASED

Both the refurbished and refashioned “Aida” which opened the Metropolitan season in this city a fortnight ago, and last night’s “Rigoletto,” have spelled bingo for Rudolf Bing as the Met’s new general—or comparatively new – manager. Especially “Rigoletto,” which has pleased both critics and cash customers in New York.

And no wonder, on the evidence of last night’s show. For a show – a dramatically and musically exciting show, in the best sense of the word – is exactly what this new “Rigoletto” is. New in cast, with several principals of prime importance making their auspicious debut, here.

SETTINGS ARE STRIKING

New in its suitable yet, striking stage settings by Eugene Berman, replacing the shabby old eyesore scenery which had done duty since 1918, and is now enjoying an honestly earned rest in the warehouse. And new, also, in the understanding stage directing of Herbert Graf, quite in contrast to the capricious and cockeyed quirks displayed by Margaret Webster in some of her odd “Aida” ideas.

In a cast which was quite international in character, and in which the most impressive male members were two Americans, interest centered especially on the first appearance here of Viennese soprano, Hilde Gueden, as the Gilda of the evening.

SOPRANO ACCLAIMED

Before coming to this country, Miss Gueden has evidently been about quite a bit in continental Europe, and this background was apparent in the authority which marked her performance, vocally and dramatically. Combining personable appearance with a voice of pleasing quality, though light in tonal texture, she more than met the requirements of the role, and was cordially acclaimed.

Taking the title role, Leonard Warren provided the real thrills with his rich and resonant baritone voice and the intensity of his acting. As the debonair Duke, Richard Tucker made the most of his music, singing with full-throated freedom of tone, and acting ably.

Alois Pernestorfer, from Vienna, gave outstanding interest to the brief role of Sparafucile. Norman Scott, a native New Yorker, made a truly magnificent Monterone.

Alberto Erede conducted with unflagging zeal, and the ballet and chorus enhanced the appeal of the performance as a whole.


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