Werther

JULES MASSENET

 

 

Performances

• 7 October 1948 - La Scala - Prandelli, Gatta, Campolonghi, Coda; Perla
• 16 October 1948 - Teatro Comunale, Bologna - Prandelli, Poli, Erato, Mojonica; Sanzogno
• 23 July 1949 - Palacio de Bellas Artes, Mexico City - Di Stefano, Rocabruna, Del Prado; Cellini
• 12 January 1950 - T. Municipale, Piacenza - Valletti, Borgonovo, Bulgaron, Righini; Parenti
• 18 April 1951 - La Scala - Tagliavini/Prandelli, Dora Gatta, Orlandini, Bruscantini; Capuana (photograph)
• 19 September 1953 - War Memorial House, San Francisco - Valletti, Warenskjold, Lombardi; Serafin
• 26 October 1953 - Shrine Auditorium, Los Angeles - Valletti, Warenskjold, Lombardi; Serafin
• 27 October 1954 - T. Florida, Monterrey - Di Stefano, Morelli, Fabila, Pazos; Picco
• 16 October 1955 - Teatro dell'Aquila, Fermo - Zampighi, Montovani, Valtriani, Caselli; Verchi
• 29 October 1955 - Tearto Sociale, Rovigo - Zampighi, Valtriani, Fabbri, Coda, Pasella; Parenti

 

Recordings

• 26 July 1949 - Palacio de Bellas Artes, Mexico City - Di Stefano, Rocabruna, Del Prado; Cellini
• 21 April 1951 - La Scala - Tagliavini, Dora Gatta, Orlandini, Bruscantini; Capuana

 

Review

• April 1951 "Simionato sang Carlotta well, with intimacy and melancholy accents, as well as the required dramatic eruptions. We would only recommend a more succinct diction which would make her lines easier to understand." Celli, Corriere Lombardo, April 19, 1951
• October 1954 "When the third act came along, Simionato snag the letter aria magnificently, then an exquisite 'delle lacrime'. Diaz Du Pond, Opera en Monterrey 1953-1988, 1990

Anecdotes

• Simionato's debut in America took place on September 19, 1953, singing Charlotte in Werther in San Francisco, shortly followed by Boris Godunov and Il Barbiere di Siviglia for the same company and a tour to boot.
• The 1954 Werther was one of the most difficult productions with which Simionato was ever associated. Her Wether, Giuseppe Di Stefano, didn't attend one of the rehearsals which upset Simionato greatly. On the opening night the first act went well despite a problem were a cast member locking Simionato on stage. This worsened during the second act. Di Stefano stopped singing during the performance and went backstage and complained about the orchestra, saying he would not go on with the performance. The orchestra had no choice, it stopped playing and waited. Simionato was extremely agitated. Finally Di Stefano was convinced to continue. The worst was yet to come. In the final duet Simionato practically had to sing alone because, whether he was nervous or ill-prepared, Di Stefano was letting large sections of his music go without singing. When the curtain fell Simionato was exceedingly agitated and began to cry and scream, she even threw props about. Neither singer appeared on stage to receive the loud applause. The next day Simionato went to the director of the theatre, her charming usual self again, and asked to be excused for the rest of the performances. Being excused she promptly left for New York.