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[Met Performance] CID:187390
La Gioconda
Metropolitan Opera House, Wed, March 8, 1961
La Gioconda (190)
Amilcare Ponchielli | Arrigo Boito
Review 1:
Review of Alan Rich in Musical America
This fitful flicker of a performance burst finally into flame as Giorgio Toni took over Act III with his overwhelmingly vivid Alvise. Vocally and histrionically this was an unbelievable projection of the malice mingled with tragedy that lurk in this curious figure of a man. I cannot conceive of a better way to bring him to life. Mr. Tozzi's voice rang out gloriously; his mock obeisance to the hapless Enzo at the curtain made for a great and powerful dramatic moment.
Strike two for Miss Milanov on her second Gioconda of the season. Such tremolo-ridden and uncertain vocalism was far below what she still usually gives these days. The other ladies were in their wonted fine fettle. Mr. Morell has a fine youthful voice and knows how to use it, but his Enzo still emerges curiously wooden, lacking in depth and stature. His best work came in the big ensemble that concludes Act III, where he rang brilliantly through Ponchielli's clumsy and muddled scoring. Mr. Sereni's Barnaba was capable, far better sung than his Count di Luna although the roles are surely cut from the same cloth. Mme. Danilova's dreary choreography for the “Dance of the Hours” was given a performance that matched its qualities, demerit for demerit.
Search by season: 1960-61
Search by title: La Gioconda,
Met careers
La Gioconda
Metropolitan Opera House, Wed, March 8, 1961
La Gioconda (190)
Amilcare Ponchielli | Arrigo Boito
- La Gioconda
- Zinka Milanov
- Enzo
- Barry Morell
- Laura
- Nell Rankin
- Barnaba
- Mario Sereni
- Alvise
- Giorgio Tozzi
- 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
- Edith Jerell
- Dance
- Bruce Marks
- Conductor
- Fausto Cleva
Review 1:
Review of Alan Rich in Musical America
This fitful flicker of a performance burst finally into flame as Giorgio Toni took over Act III with his overwhelmingly vivid Alvise. Vocally and histrionically this was an unbelievable projection of the malice mingled with tragedy that lurk in this curious figure of a man. I cannot conceive of a better way to bring him to life. Mr. Tozzi's voice rang out gloriously; his mock obeisance to the hapless Enzo at the curtain made for a great and powerful dramatic moment.
Strike two for Miss Milanov on her second Gioconda of the season. Such tremolo-ridden and uncertain vocalism was far below what she still usually gives these days. The other ladies were in their wonted fine fettle. Mr. Morell has a fine youthful voice and knows how to use it, but his Enzo still emerges curiously wooden, lacking in depth and stature. His best work came in the big ensemble that concludes Act III, where he rang brilliantly through Ponchielli's clumsy and muddled scoring. Mr. Sereni's Barnaba was capable, far better sung than his Count di Luna although the roles are surely cut from the same cloth. Mme. Danilova's dreary choreography for the “Dance of the Hours” was given a performance that matched its qualities, demerit for demerit.
Search by season: 1960-61
Search by title: La Gioconda,
Met careers
- Fausto Cleva [Conductor]
- Zinka Milanov [La Gioconda]
- Barry Morell [Enzo]
- Nell Rankin [Laura]
- Mario Sereni [Barnaba]
- Giorgio Tozzi [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]
- Edith Jerell [Dance]
- Bruce Marks [Dance]