Metropolitan Opera Archives

The first hearing this season of Bizet's opera had a largely familiar cast. Max Rudolf had taken over the conductorial duties from Pierre Monteux. Mr. Rudolf's version of the work was competent; on the whole, he gave a smooth and well-paced account, though not one of the most fine-grained. Rise Stevens showed her wonted warmth of voice and acted the title role with great brio. The death scene had more than the accustomed degree of physical abandon and depths of terror. Kurt Baum, who had inherited the part of Don José, was well versed in the music, but his conception of the role was too stiff. In the final scene, he was abject and not menacing enough as the avenging lover. His voice seemed in good estate, except toward the close, when it showed some stress. Frank Guarrera presented his familiar youthful and virile version of Escamillo; he sang the role with power, if not all the freedom of tone desirable in the second-act aria. Lucine Amara's portrait of Micaela was appealing and tonally very fresh, save perhaps in a few upper passages. The other roles were assigned to Norman Scott, as Zuniga; Calvin Marsh, Morales; Heidi Krall, Frasquita; Margaret Roggero, Mercedes; George Cehanovsky, Dancaire; and Alessio De Paolis, Remendado. The chorus sang and acted with considerable aplomb.

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