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[Met Performance] CID:161380
Tosca
Metropolitan Opera House, Sat, December 20, 1952
Tosca (304)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Review 1:
Review of Raymond A. Ericson in Musical America
The fifth performance of “Tosca,” presented as a benefit for the Mizrachi Women's Organization, brought a complete change of principals, including Licia Albanese, in her first Tosca anywhere; Jan Peerce, in his first Cavaradossi of the season at the Metropolitan; and Robert Weede, in his first Scarpia at the Metropolitan. The baritone had been listed in this season's roster, after a two-season absence, but his return to the company came earlier than scheduled as he was called in to substitute for Paul Schoeffler, who was ill. Both Miss Albanese and Mr. Weede gave notable performances; in conjunction with Mr. Peerce's knowledgeable if constricted singing as Cavaradossi and Fausto Cleva's sympathetic conducting, the evening became an exciting one.
Miss Albanese's portrayal of Sardou's heroine was certainly the best of the three offered at the Metropolitan this season; it was thoroughly mature in conception and convincing in performance. Its dominant feature was Tosca's great love for Cavaradossi, which set off so well her jealousy in the first act, her protective concern in the second, and her radiant anticipation of future freedom in the third. The soprano acted with apparent spontaneity and affecting conviction throughout the opera, and only a few gestures in the difficult second act seemed calculated. Within the scope of her voice, admittedly small for the part, Miss Albanese sang with complete command of vocal nuance and style, so that her climactic phrases had more impact than those of artists with larger voices.
Mr. Weede's skillful singing and acting as Scarpia was an excellent match for Miss Albanese's Tosca. He sang with comparable understanding of the text and musical style, and he created a credibly suave, aristocratic villain. A few forced tones in the second act disturbed briefly his smooth, controlled vocalism, and his naturally pleasant countenance sometimes belied his villainous actions, but on the whole his performance suggested how valuable an artist he can he to the opera company.
Singing their roles for the first time this season were Lorenzo Alvary, who gave a conscientious portrayal of Angelotti, and Gerhard Pechner, an excellent, traditional Sacristan.
Search by season: 1952-53
Search by title: Tosca,
Met careers
Tosca
Metropolitan Opera House, Sat, December 20, 1952
Tosca (304)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
- Tosca
- Licia Albanese
- Cavaradossi
- Jan Peerce
- Scarpia
- Robert Weede
- Sacristan
- Gerhard Pechner
- Spoletta
- Alessio De Paolis
- Angelotti
- Lorenzo Alvary
- Sciarrone
- George Cehanovsky
- Shepherd
- Margaret Roggero
- Jailer
- Algerd Brazis
- Conductor
- Fausto Cleva
Review 1:
Review of Raymond A. Ericson in Musical America
The fifth performance of “Tosca,” presented as a benefit for the Mizrachi Women's Organization, brought a complete change of principals, including Licia Albanese, in her first Tosca anywhere; Jan Peerce, in his first Cavaradossi of the season at the Metropolitan; and Robert Weede, in his first Scarpia at the Metropolitan. The baritone had been listed in this season's roster, after a two-season absence, but his return to the company came earlier than scheduled as he was called in to substitute for Paul Schoeffler, who was ill. Both Miss Albanese and Mr. Weede gave notable performances; in conjunction with Mr. Peerce's knowledgeable if constricted singing as Cavaradossi and Fausto Cleva's sympathetic conducting, the evening became an exciting one.
Miss Albanese's portrayal of Sardou's heroine was certainly the best of the three offered at the Metropolitan this season; it was thoroughly mature in conception and convincing in performance. Its dominant feature was Tosca's great love for Cavaradossi, which set off so well her jealousy in the first act, her protective concern in the second, and her radiant anticipation of future freedom in the third. The soprano acted with apparent spontaneity and affecting conviction throughout the opera, and only a few gestures in the difficult second act seemed calculated. Within the scope of her voice, admittedly small for the part, Miss Albanese sang with complete command of vocal nuance and style, so that her climactic phrases had more impact than those of artists with larger voices.
Mr. Weede's skillful singing and acting as Scarpia was an excellent match for Miss Albanese's Tosca. He sang with comparable understanding of the text and musical style, and he created a credibly suave, aristocratic villain. A few forced tones in the second act disturbed briefly his smooth, controlled vocalism, and his naturally pleasant countenance sometimes belied his villainous actions, but on the whole his performance suggested how valuable an artist he can he to the opera company.
Singing their roles for the first time this season were Lorenzo Alvary, who gave a conscientious portrayal of Angelotti, and Gerhard Pechner, an excellent, traditional Sacristan.
Search by season: 1952-53
Search by title: Tosca,
Met careers