Evening star., 1952-04-30
News Of Music.
Challenging Innovations Introduced
In Nets Performance of Carmen
By Alice -Eyersmon

By Alice Eversmon
The Metropolitan Operas lin
tied series at the Capitol Theater
ended last night with a chal-
lenging performance of Bizet's
Carmen" It was. challenging in
that practically every tradition
was thrown to the winds
and completely new approach
substituted.
It may take time to have these
innovations accepted by those who
like their Carmen production
colorful in staging and dress, and
SubmiSSively following the estab-
lished pattern of acting. But no
one could deny that a shot IN
the arm has been given the aging
styles of opera presentations by
the two freshly devised works the
Metropolitan management brought
for its Washington visit.
It was quite a feat in itself to
have the singers willing to forego
their cherished ideas and strive
to convey reality. Rise Stevens
provided an entirely different por-
trait of the gypsy girl, making her
ordinary. as in Merrimee's story.
Her voice has not the warmth to
inject any sensuality into the
character and occasionally the
strain of the music showed in
husky tones.
All Of her Interpretation, as was
that of the rest of the principals,
was concentrated on details, most
OF them small in scope vet
definitely in character. Richard
Tucker had not shed completely
his adherence to the older school
Of thought and his portrayal of
Don Jose was the more familiar.
His acting was passionate and
dramatic and the beauty of his
voice shone in the aria, La heur
que tn m'avais jetee."
In Annumerable ways, the art
lists fitted themselves into the
overall idea and the mosaic of
the plot was lighted by striking
bits of acting. Tyrone Guthrie,
who staged the opera, has been
most successful in breaking up
set scenes and in keeping the
movement flowing. This was to
be remarked in the tavern scene
and especially in the manner of
singing the quintet. Throughout
the four acts there was a f1uidity
OF motion so smoothly devised as
to be hardly noticeable.
Rolf Gerard was again respon-
sible for the scenery and costumes.
He is an artist that will have no
converse with brilliant colors and
prefers to put the accent on the
drab and gloomy. He is also fond
OF Stairways. The square in Sc
vile, that forms the first act was
dominated by wide, high stone
stairs which allowed for some fine
grouping OF the chorus and some
natural and unusual acting. The
tavern of the second act was only
feebly lighted and the third act
mountain pass was so dark, ex-
cept for light in the center, that
the characters could not be dis
tinguished. He made up for this,
however, in the last act, where
vivid red and purple costumes
were worn by the ladies in a
novel setting behind a balistrade.
In the midst of this determined
effort to prove there was nothing
bright or colorful in Seville of
that day. the singers evolved their
perSonif1cationS with skill. Indi-
vidually, all scored loud rounds of
applause. Hide Gueden was a
charming Micaela, who wound her
braids around her head and was
not afraid of the soldiers in the
first act or Of the sinister noun
tain retreat in the third. She dis
closed a lovely voice and great
common sense in her acting.
Robert Merrill made a dashing
Escamillo, singing with robust
tone. And finished performances
were given by Osie Hawkins as
Zuniga, Clifford Harvuot as Mo-
raleS. Lucina Alnara and Herta
Glaz as Frasquita and Mercedes.
Special commendation goes to-
George Cehanovsky and Alessio
De PaoliS for their treatment of
the roles Of Dancaire and Remen-
dado.
There was some fiery dancing
by dark clothed men and women
dancers in the tavern scene and a
brilliant number by Janet Collins
and Loren Hightower in the last
act.
Conductor Fritz Reiner kept his
orchestra at a steady pace, with
emphasis on nuance, winning spe-
ciaI applause for himself and his
men from the audience.
Dorothy Kristen Stars in
More Routined Butterfly
The afternoon saw a more
routined performance of Puc-