[Met Performance] CID:158640



Rigoletto
Metropolitan Opera House, Wed, January 16, 1952




Rigoletto (313)
Giuseppe Verdi | Francesco Maria Piave
Rigoletto
Paolo Silveri

Gilda
Roberta Peters

Duke of Mantua
Jan Peerce

Maddalena
Hertha Glaz

Sparafucile
Jerome Hines

Monterone
Norman Scott

Borsa
Paul Franke

Marullo
Clifford Harvuot

Count Ceprano
Lawrence Davidson

Countess Ceprano
Lucine Amara

Giovanna
Thelma Votipka

Page
Margaret Roggero

Guard
Algerd Brazis


Conductor
Alberto Erede







Review 1:

Review of James Hinton Jr. in Musical America

In the eighth repetition of the Metropolitan's new "Rigoletto" two singers (Paolo Silveri as Rigoletto and Herta Glaz as Maddalena) sang their parts for the first time here, and two others (Jan Peerce as the Duke and Jerome Hines as Sparafucile) undertook familiar parts for the first time in the new production. Roberta Peters again sang Gilda, with Alberto Erede conducting and a standard allotment of comprimarios marshaled in support.

Mr. Silveri did not seem to have been given much time with Herbert Graf for instruction in the staging. His characterization, while full of original and frequently revealing touches, had its basis in conventional Italian traditions that blended but poorly with the atmosphere of the rest of the production. He enforced his own ideas unremittingly-to the point of overcoming the design of the Act II set in order to do an old-time rolling swoon down to the footlights. In its own terms, however, his impersonation was forceful and often interesting. He sang with a heavy, extremely dark placement that for the first time here made credible his previous status as a bass. The tone was seldom very mellow or capable of much variety of color, but what his singing lacked in refinement it nearly made up in strength of dramatic accent-except, oddly, in his "Cortigiani," which was on the weak side and did not pay off as it should.

In strong contrast to Mr. Silveri's wayward stage manners was Mr. Peerce's meticulous ensemble playing. He had the new movement down absolutely pat, seemed completely at home in the sets, and gave a most heartening demonstration of the fact that there are singers in the world who are willing to reconsider their parts for the benefit of the whole theatrical enterprise. The Duke has always been one of Mr. Peerce's most grateful roles, and his sense of style was an unalloyed delight. His voice sounded dry and driven until the last act, where, using it more lightly, he carried just as well and achieved tones that were more often attractive in texture.

Mr. Hines, very well made-up, acted with considerable force and point and sang with fine, round tone and intelligent responsiveness to the text. Miss Glaz looked well enough, and (when she was audible) seemed to be singing competently. She had the misfortune of getting tangled up with the curtain that arbitrarily cuts off the view into Sparafucile's "den" as Gilda is murdered-pulling the whole thing across with her, and having to go back again to arrange it. Maybe the curtain will prove so troublesome that the whole absurd arrangement will be done away with.

Miss Peters once again improved the vocalism of her already touching Gilda.



Search by season: 1951-52

Search by title: Rigoletto,



Met careers