[Met Performance] CID:161950



La Bohème
Metropolitan Opera House, Fri, February 13, 1953


In English



La Bohème (476)
Giacomo Puccini | Luigi Illica/Giuseppe Giacosa
Mimì
Lucine Amara

Rodolfo
Brian Sullivan

Musetta
Brenda Lewis

Marcello
Frank Guarrera

Schaunard
Clifford Harvuot

Colline
Nicola Moscona

Benoit
Lawrence Davidson

Alcindoro
Alessio De Paolis

Parpignol
Paul Franke

Sergeant
Algerd Brazis


Conductor
Alberto Erede







Review 1:

Review of Jay S. Harrison in the Herald Tribune

'La Bohème' - Brian Sullivan is Rodolfo. Lucine Amara Sings Mimi

Lucine Amara and Brian Sullivan sang Mimi and Rodolfo for the first time at the Metropolitan Opera House last night in the company's presentation of Puccini's "La Bohème." The remainder of the familiar cast singing Howard Dietz' English translation, included Frank Guarrera as Marcello, Brenda Lewis as Musetta, Clifford Harvuot as Schaunard, Nicola Moscona as Colline and Lawrence Davidson, Paul Franke, Alessio De Paolis and Algerd Brazis. Alberto Erede was the conductor.

As newcomers to their roles, Miss Amara and Mr. Sullivan were understandably unable to support on their backs and with their voices the major events in a four-act opera. Neither performer, however, is new to the field and it may thus be assumed that time and experience will make of the soprano and tenor the true Mimi and Rodolfo for which they were naturally equipped by talent.

Of the two characterizations, Miss Amara's, in terms vocal and dramatic, seemed the firmest, the more elaborately conceived. Her voice is a full one, tonally resonant, soundly schooled and warm of color. In consequence, her first and third act arias were ample in sonority, uncluttered in sentiment and convincing in expression. A slight tendency to explode on vowel sounds is Miss Amara's cardinal failing. It is a mannerism which throws into relief, at inappropriate moments, words and pitches which are no more than a single link of a longer melodic chain.

Mr. Sullivan's Rodolfo was an impersonation whose many virtues did not compensate for its few weaknesses. The tenor is able, on occasion, to produce an opulent open tone, and his work in general is not without body and power. But his singing last night was tight, often forced, and in the extreme registers coarse and breathy. Throughout, a lack of focus marred his pitches and a want of lyric intensity turned his arias and ensembles bloodless and bland.

Dramatically, however, there was no cause for either criticism or complaint. Miss Amara and Mr. Sullivan take to the stage; it is their natural element. They move about it with grace, perform on it with assurance. They neither mug, nor posture nor beat their breasts. They are genuine theater people who have also learned to sing.

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