Metropolitan Opera Archives

Presentation
Joseph Volpe
The onstage ceremony, which followed Act II, honored Charles Anthony on the occasion of his 2,397th performance with the Metropolitan Opera, breaking the record of George Cehanovsky for most appearances by an artist at the Met.
Rigoletto received twelve performances this season.

Review 1:

Review of Martin Mayer in Opera

New York. One of the nicest stories from the old days at the Met tells of Mirella Freni's debut, more than a quarter of a century ago. Among those in the audience was Zinka Milanov, who came running back to the old press room behind the box office, where Francis Robinson presided. 'My God!' said Milanov, 'she's so wonderful, this girl-she sounds like a young me.'

Observing Ruth Ann Swenson's Gilda on February 27, [sic] I felt that though this was not actually her debut (she sang an excellent Zerlina last autumn), there should have been someone in the house-perhaps Freni, though the register is different-to offer an equivalent comment. For make no mistake about it: this is an astonishing talent, and, 'ceteris paribus,' she will have an extraordinary career. Like Freni's, it is a multifaceted talent, not only a beautiful voice but a presence, a 'rayonnement;' not only a presence, but an actress who can make the audience care about-would you believe-Gilda? After the vengeance duet that ends the second act, Swenson and her Rigoletto, the admirable Matteo Manuguerra, were given a curtain call together, and Manuguerra stepped aside, turned away from the audience, and applauded his colleague-at which point, with an instinct that cannot be taught, rather than taking a bow, she applauded him.

I had seen Swenson triumph similarly as Lucia in Washington two years ago, but the Kennedy Center Opera House is a much kinder ambience for singers, and Lucia is not quite so ungrateful a role. Moreover, this "Rigoletto" is a terrible production, overbuilt and ponderous-Otto Schenk out of sympathy with the piece. And Nello Santi, though bravo'ed by a claque each time he entered the pit, was dull and inflexible. Swenson had to create this character all by herself, and make heartbreaking music of some of opera's most clichéd cadences, all by herself. And she did. A hugely excited audience justifiably went out of its mind after 'Caro nome,' at the end of the second act, and again at the final curtain.

Richard Leech was her Duke, and an asset, for he has learned to keep the voice covered while putting more force behind it (he should, however, forget about the high B at the end of 'La donna e mobile'; Verdi didn't write it, it interferes with the matchless drama of the act, and he doesn't sing it well, anyway). Manuguerra was a class Rigoletto, raising questions about why he has seen so few engagements at the Met. But the evening was Swenson's, and nobody begrudged her.

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