Monday, November 21, 2022
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“Puissant individuality”


F. Kubel within the Los Angeles Herald:

We’ve got had every kind of Carmens right here, starting from the pleasant daintiness of Theo Dorre to the large freshness of Signora Almirana, from the misperception of Emma Juch to the literal Collamarini, however we’ve by no means earlier than had so totally geared up an interpreter of the position as was proven us in Mme. Calvé final evening. Her dramatic temperament is strongest, and the impersonation and its pressure are heightened each by the willfulness and abandon of her moods and the strikingly stunning technique of expression which she has at her command. Calvé is a superb singer in addition to a lyric actress of a puissant individuality. She is an artist of brains, and her intellectuality confirmed itself repeatedly in her school for associating with the phrases a best suited and expressive tonal shade. She felt the phrases, the burning speech, the torrent of ardour, and her heat, obedient tones mirrored her feelings most fantastically. Her Carmen is not like the others that we’ve seen; she is the veritable Gitana of the story, the incarnation of the wild, fickle nomad of the south of Europe. She should have studied the sort, taken of the atypical gypsy what she deemed illustrative of Merimee’s story, and together with her personal conception of the character, have long-established out of those the fascinating, tantalizing, coquettish and feline enslaver and destroyer of males often known as “Carmen.” The loveliness of her musical individuality however augmented and emphasised the good image she drew. Her artwork of track is nice; so nice, certainly that it can’t be taught in conservatories and therefore her undisputed…. achieved successful that was warmly indicated by the massive viewers.

On today in 1965 bass Nicolai Ghiaurov made his Metropolitan Opera debut as Méphistophélès.


Birthday anniversaries of tenor Joseph Rogachevsky (1891); contralto Res Fischer (1896); conductors Alberto Erede (1908) and Lamberto Gardelli (1915); bass and composer Jerome Hines (1921) and soprano Ingrid Bjoner (1927).



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