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[Met Performance] CID:187270
La Gioconda
Metropolitan Opera House, Sat, February 25, 1961
La Gioconda (188)
Amilcare Ponchielli | Arrigo Boito
Review 1:
Review of Alan Rich in Musical America
Those gloomy folk who early in the season felt that Miss Farrell had made her Metropolitan debut too late in her career would be well advised to watch the constant deepening and subtilization of her art as she becomes more accustomed to her surroundings. Vocally, her Gioconda has never been in doubt; visually, it constantly improves, as she learns the art of movement and gesture and stance. Right now it is among the richest music-dramatic creations in all opera. Mr. Fernandi’s first Enzo was musically splendid, beautifully shaded and intelligently projected. His “Cielo e mar” began quietly, reflectively, with a commendable husbanding of vocal resources toward an overwhelming delivery of the final bars. His command of gesture, however, ranged from the rudimentary to the ludicrous.
Mr. Wildermann restored a good deal of dramatic credibility to Alvise; it is a pleasure to watch him grow into one of the most valuable and dependable members of the roster. Other members of the cast have been heard in their roles before, and it remains only to report that they were all in good shape. It was a decidedly good night at the Metropolitan.
Search by season: 1960-61
Search by title: La Gioconda,
Met careers
La Gioconda
Metropolitan Opera House, Sat, February 25, 1961
La Gioconda (188)
Amilcare Ponchielli | Arrigo Boito
- La Gioconda
- Eileen Farrell
- Enzo
- Eugenio Fernandi
- Laura
- Nell Rankin
- Barnaba
- Anselmo Colzani
- Alvise
- William Wilderman
- La Cieca
- Mignon Dunn
- Zuàne
- George Cehanovsky
- Isèpo
- Alessio De Paolis
- Monk
- Louis Sgarro
- Steersman
- Nicola Barbusci
- Singer
- Anthony Balestrieri
- Singer
- Paul De Paola
- Dance
- Katharyn Horne
- Dance
- Bruce Marks
- Conductor
- Fausto Cleva
Review 1:
Review of Alan Rich in Musical America
Those gloomy folk who early in the season felt that Miss Farrell had made her Metropolitan debut too late in her career would be well advised to watch the constant deepening and subtilization of her art as she becomes more accustomed to her surroundings. Vocally, her Gioconda has never been in doubt; visually, it constantly improves, as she learns the art of movement and gesture and stance. Right now it is among the richest music-dramatic creations in all opera. Mr. Fernandi’s first Enzo was musically splendid, beautifully shaded and intelligently projected. His “Cielo e mar” began quietly, reflectively, with a commendable husbanding of vocal resources toward an overwhelming delivery of the final bars. His command of gesture, however, ranged from the rudimentary to the ludicrous.
Mr. Wildermann restored a good deal of dramatic credibility to Alvise; it is a pleasure to watch him grow into one of the most valuable and dependable members of the roster. Other members of the cast have been heard in their roles before, and it remains only to report that they were all in good shape. It was a decidedly good night at the Metropolitan.
Search by season: 1960-61
Search by title: La Gioconda,
Met careers
- Fausto Cleva [Conductor]
- Eileen Farrell [La Gioconda]
- Eugenio Fernandi [Enzo]
- Nell Rankin [Laura]
- Anselmo Colzani [Barnaba]
- William Wilderman [Alvise]
- Mignon Dunn [La Cieca]
- George Cehanovsky [Zuàne]
- Alessio De Paolis [Isèpo]
- Louis Sgarro [Monk]
- Nicola Barbusci [Steersman]
- Anthony Balestrieri [Singer]
- Paul De Paola [Singer]
- Katharyn Horne [Dance]
- Bruce Marks [Dance]