Tuesday, November 22, 2022
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“Even handed liberality”


//www.youtube.com/watch?v=Sjf_LSWwxnA

The New York Instances:

Mme. Marcella Sembrich’s Violetta is prone to change into a extra common impersonation than even her Lucia. The efficiency of Verdi’s opera on the Metropolitan Opera Home final evening revealed the Hungarian [sic] prima donna in a brand new gentle. She had beforehand displayed her marvelous vocal sources, the uncommon great thing about her voice, and her admirable approach; final night she got here ahead as an actress of no unsure rank and introduced an embodiment of the Girl of the Camellias conceived with wonderful style and properly carried out to the tip. Mme. Sembrich’s singing of Verdi’s music was, as might need been anticipated, greater than passable. Sure parts of the work appear to be higher tailored to the peculiar high quality of her voice than the music of both Donizetti or Bellini, which she had hitherto sung right here, and with out lapsing at any level from the dramatic scenario she sang the passionate arias of Violetta with extraordinary facility of execution, which alone would have made the efficiency a well-liked success. Her success, nevertheless, was of a extra substantial kind that that. The “Ah fors e lui” and the succeeding “Sempre libera” have been rendered with capital impact, the distinction between the disappointment of the [first] strains of this elaborate scena and the reckless abandon of the finale being excellently conceived. Within the attempting scena with Germont and Alfredo (Act II), and within the later parts of the opera she was pathetic with out overstraining the character, and her half within the duet with Alfredo, “Parigi, o cara,” and the demonstrative “Ah, gran Dio” got a dramatic significance which many former Violettas have hailed to impart to them.

The current revival of “La Traviata” has been effected with considered liberality. The looks of that estimable artist, Mme. Lablache, as Flora, and of M. Augier, Signor Contini, and Signor Fornaria in different minor rôles, gave dignity to the ensemble, and made the concerted items which conclude the ballroom scene far more efficient that it’s typically. Signor Del Puente was an admirable Germont and his rendering of the tuneful “Di Provenza” evoked a storm of applause. M. Capoul was Alfredo. A conspicuous characteristic was manufactured from the ballet divertissement, and that charming danseuse, Mme. Malvina Cavallazzi, whose “pas seul” was fantastically executed, was acquired with vigorous applause and overloaded with floral items. The viewers was quite a few and enthusiastic.

On today in 1958 Gian Carlo Menotti‘s elusive opera Maria Golovin premiered on Broadway for 5 performances.

//www.youtube.com/watch?v=kd3aDvnj_a4

Birthday anniversaries of mezzo-soprano Biserka Cvejic (1923), composer Nicholas Maw (1935) and tenor Anthony Rolfe Johnson (1940).

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