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[Met Performance] CID:196720
La Sonnambula
Metropolitan Opera House, Fri, December 27, 1963
La Sonnambula (42)
Vincenzo Bellini | Felice Romani
Review 1:
Review of Michael Brozen in Musical America
The Metropolitan Opera's fourth "Sonnambula" of the season (December 27) was brightened by Gianna d'Angelo's first Amina at the house. Miss d'Angelo looked like an angel and sang like a queen. Her beautifully shaped and shaded coloratura and the seeming ease with which she scaled the score's Alpine heights brought admiring gasps from the audience. Dramatically she was able to make a rather foolish part almost convincing, though her use of the strangled sob was excessive (most likely a pardonable misjudgment in an attempt to strengthen what was already a strong characterization). No matter; Miss d'Angelo provided a banquet for the eye and the ear, and one would only be a bounder to complain that the service was not impeccable.
Less happy was Joy Clements' Lisa, another first at the Met. Miss Clements sounded as if she were forcing her voice to fill the house, which may have been responsible for her difficulties in maintaining pitch. She did a decent acting job, however, and in that way contributed to the evening’s pleasures.
Search by season: 1963-64
Search by title: La Sonnambula,
Met careers
La Sonnambula
Metropolitan Opera House, Fri, December 27, 1963
La Sonnambula (42)
Vincenzo Bellini | Felice Romani
- Amina
- Gianna D'Angelo
- Elvino
- John Alexander
- Rodolfo
- Giorgio Tozzi
- Lisa
- Joy Clements
- Teresa
- Lili Chookasian
- Alessio
- John Macurdy
- Notary
- Arthur Graham
- Conductor
- Silvio Varviso
Review 1:
Review of Michael Brozen in Musical America
The Metropolitan Opera's fourth "Sonnambula" of the season (December 27) was brightened by Gianna d'Angelo's first Amina at the house. Miss d'Angelo looked like an angel and sang like a queen. Her beautifully shaped and shaded coloratura and the seeming ease with which she scaled the score's Alpine heights brought admiring gasps from the audience. Dramatically she was able to make a rather foolish part almost convincing, though her use of the strangled sob was excessive (most likely a pardonable misjudgment in an attempt to strengthen what was already a strong characterization). No matter; Miss d'Angelo provided a banquet for the eye and the ear, and one would only be a bounder to complain that the service was not impeccable.
Less happy was Joy Clements' Lisa, another first at the Met. Miss Clements sounded as if she were forcing her voice to fill the house, which may have been responsible for her difficulties in maintaining pitch. She did a decent acting job, however, and in that way contributed to the evening’s pleasures.
Search by season: 1963-64
Search by title: La Sonnambula,
Met careers