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[Met Tour] CID:161760
Così Fan Tutte
American Academy of Music, Philadelphia, Pennsylvania, Tue, January 27, 1953
In English
Così Fan Tutte (25)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
Photograph of Eleanor Steber as Fiordiligi, Roberta Peters as Despina, and Blanche Thebom as Dorabella in Così fan tutte by Mark Hagmann.
Photograph of Frank Guarrera as Guglielmo and Richard Tucker as Ferrando in Così fan tutte by Mark Hagmann.
Review 1:
Review of Max de Schauensee in the Philadelphia Evening Bulletin
Met Adds New Sparkle To Classic Mozart Opera
Mozart’s sparkling “Cosi Fan Tutte,” sung in an English translation by Ruth and Thomas P. Martin and staged by Alfred Lunt, was the Metropolitan Opera’s third offering of the season at the Academy of Music last night. It was presented before a sold-out house.
Without wasting any words, let us report that the evening was a charming and delightful one. Though this department is a staunch opponent of opera in English for most occasions, this is one when such a move seems both rewarding and logical.
In the first place, the rarely given “Cosi Fan Tutte” is an unfamiliar opera to most people; it is a classic with a universal appeal of basic emotions, and its action is limited to the point of being practically static. For these reasons, the Martin translation, which is often witty and amusing, seems like a very wise move on the part of Rudolf Bing.
Sophisticated Styling
Alfred Lunt’s direction of the six-personage cast is the acme of sophisticated stylization – a stylization that doesn’t hesitate to indulge in spoofing and in burlesquing many of the torrid sentiments expressed. This is a perfectly legitimate approach, though it may not please all people. Undeniably, with this manner of presentation, the opera loses some of its innate elegance and distinction; however, on the other hand, the absurd situations are pointed up and the comedy is set in bolder relief.
It probably all comes down to a question of personal taste, for it is indeed difficult to select a way of presenting “Cosi Fan Tutte” to an American audience in 1953. Let us not forget that great liberties and improvisations were allowed in Mozart’s day, with the full knowledge and apparent approval of the composer.
If the frequent chuckles and waves of laughter that now and again swept the Academy last night are the logical answer, then this racy production is indeed justified.
Musically, one is happy to state that Mozart was in no way betrayed. His difficult arias, his mellifluous duets, his lovely trio and the wonderful concerted numbers were treated with a full measure of respect and with a vocal technique that often recalled days when great singing was common.
Conducting, Settings Blended
Fritz Stiedry led the radiant score with great stylistic brilliance and a fastidious regard for balance between singer and instruments. His was a lovely performance that blended with the delicate pastels and crystals of Rolf Gerard’s settings.
Among the singers, Eleanor Steber must be cited for her singing of Fiordiligi’s two terrifying arias. Miss Steber was a great lady of song last night. She sang the impassioned roulades, the thundering leaps (two of them of a tenth) and the indented and climactic trills with a sweep and an energetic authority that was in the true grand manner. Her pianissimos and steadiness in maintaining a long, firm line must also, not go unmentioned. Hers was by far the most difficult music of the evening.
Blanche Thebom made of Dorabella a charmingly human creature, and sang with lovely tone, her voice blending ideally with Mme. Steber’s in the many duet passages.
Richard Tucker must be commended for his Ferrando, his fruity voice is not just the type for this music (an Anglo-Saxon Tito Schipa would be ideal for this production). Nevertheless, Mr. Tucker sang with security and fullness of tone, and both he and Frank Guarrera (Guglielmo) contributed much to the success of the opera’s comic moments. Mr. Guarrera was also in good voice, and his manly bearing was a pleasure to see.
Roberta Peters made a delightful Despina. She seems far more spontaneous and less in the stock operetta tradition than her predecessor in the role, Patrice Munsel. John Brownlee rounded out the cast with his mellow and knowing Don Alfonso.
The Martin text was well enunciated, and while one listener could have wished for the elimination of about a third of the colloquialisms used, it must be faithfully reported that it is a very able translation. Opera in English will continue being served by the Metropolitan, as it presents “The Rake’Progress” here on February 24 next.
Search by season: 1952-53
Search by title: Così Fan Tutte,
Met careers
Così Fan Tutte
American Academy of Music, Philadelphia, Pennsylvania, Tue, January 27, 1953
In English
Così Fan Tutte (25)
Wolfgang Amadeus Mozart | Lorenzo Da Ponte
- Fiordiligi
- Eleanor Steber
- Ferrando
- Richard Tucker
- Dorabella
- Blanche Thebom
- Guglielmo
- Frank Guarrera
- Despina
- Roberta Peters
- Don Alfonso
- John Brownlee
- Conductor
- Fritz Stiedry
Photograph of Eleanor Steber as Fiordiligi, Roberta Peters as Despina, and Blanche Thebom as Dorabella in Così fan tutte by Mark Hagmann.
Photograph of Frank Guarrera as Guglielmo and Richard Tucker as Ferrando in Così fan tutte by Mark Hagmann.
Review 1:
Review of Max de Schauensee in the Philadelphia Evening Bulletin
Met Adds New Sparkle To Classic Mozart Opera
Mozart’s sparkling “Cosi Fan Tutte,” sung in an English translation by Ruth and Thomas P. Martin and staged by Alfred Lunt, was the Metropolitan Opera’s third offering of the season at the Academy of Music last night. It was presented before a sold-out house.
Without wasting any words, let us report that the evening was a charming and delightful one. Though this department is a staunch opponent of opera in English for most occasions, this is one when such a move seems both rewarding and logical.
In the first place, the rarely given “Cosi Fan Tutte” is an unfamiliar opera to most people; it is a classic with a universal appeal of basic emotions, and its action is limited to the point of being practically static. For these reasons, the Martin translation, which is often witty and amusing, seems like a very wise move on the part of Rudolf Bing.
Sophisticated Styling
Alfred Lunt’s direction of the six-personage cast is the acme of sophisticated stylization – a stylization that doesn’t hesitate to indulge in spoofing and in burlesquing many of the torrid sentiments expressed. This is a perfectly legitimate approach, though it may not please all people. Undeniably, with this manner of presentation, the opera loses some of its innate elegance and distinction; however, on the other hand, the absurd situations are pointed up and the comedy is set in bolder relief.
It probably all comes down to a question of personal taste, for it is indeed difficult to select a way of presenting “Cosi Fan Tutte” to an American audience in 1953. Let us not forget that great liberties and improvisations were allowed in Mozart’s day, with the full knowledge and apparent approval of the composer.
If the frequent chuckles and waves of laughter that now and again swept the Academy last night are the logical answer, then this racy production is indeed justified.
Musically, one is happy to state that Mozart was in no way betrayed. His difficult arias, his mellifluous duets, his lovely trio and the wonderful concerted numbers were treated with a full measure of respect and with a vocal technique that often recalled days when great singing was common.
Conducting, Settings Blended
Fritz Stiedry led the radiant score with great stylistic brilliance and a fastidious regard for balance between singer and instruments. His was a lovely performance that blended with the delicate pastels and crystals of Rolf Gerard’s settings.
Among the singers, Eleanor Steber must be cited for her singing of Fiordiligi’s two terrifying arias. Miss Steber was a great lady of song last night. She sang the impassioned roulades, the thundering leaps (two of them of a tenth) and the indented and climactic trills with a sweep and an energetic authority that was in the true grand manner. Her pianissimos and steadiness in maintaining a long, firm line must also, not go unmentioned. Hers was by far the most difficult music of the evening.
Blanche Thebom made of Dorabella a charmingly human creature, and sang with lovely tone, her voice blending ideally with Mme. Steber’s in the many duet passages.
Richard Tucker must be commended for his Ferrando, his fruity voice is not just the type for this music (an Anglo-Saxon Tito Schipa would be ideal for this production). Nevertheless, Mr. Tucker sang with security and fullness of tone, and both he and Frank Guarrera (Guglielmo) contributed much to the success of the opera’s comic moments. Mr. Guarrera was also in good voice, and his manly bearing was a pleasure to see.
Roberta Peters made a delightful Despina. She seems far more spontaneous and less in the stock operetta tradition than her predecessor in the role, Patrice Munsel. John Brownlee rounded out the cast with his mellow and knowing Don Alfonso.
The Martin text was well enunciated, and while one listener could have wished for the elimination of about a third of the colloquialisms used, it must be faithfully reported that it is a very able translation. Opera in English will continue being served by the Metropolitan, as it presents “The Rake’Progress” here on February 24 next.
Search by season: 1952-53
Search by title: Così Fan Tutte,
Met careers
