Word: germont
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...evening's end the applause lasted six minutes. This is not spectacular by New York standards, but highly generous when measured against the traditional reticence of Tokyo theatergoers. The biggest hand went to Robert Merrill, 56, who sings the role of the elder Germont with almost all of his familiar baritone magnificence. Mixed with the bravoes and clapping was a certain animal-like howl that signifies Japanese enthusiasm. To Western ears, the sound is uncomfortably like booing. From the brief, but noticeable, look of pain on Alexander's face, it seemed clear that he had not previously heard...
Booming Voice. In a career that spanned more than a quarter-century, Tibbett ranged through more than 70 roles. He was never a leading Wagnerian, instead concentrated on the great baritone roles of the Italian repertory: lago in Otello, the elder Germont in Traviata, Scarpia in Tosca, Amonasro in A'ida. For Tibbett the Met scheduled rarely performed operas such as Verdi's Simon Boccanegra, and it was Tibbett, a longtime champion of English-language opera, who created the baritone roles in such contemporary American operas as Deems Taylor's The King's Henchman and Peter...
...Toscanini's absorption in the music is nowhere better demonstrated than when he raises his cracked old voice in song. During the Traviata rehearsals he is sometimes the ardent young Alfredo, singing the aria De' miei bollenti spiriti, sometimes the gravely dignified Germont, making his moving plea to Violetta-Pura sic-come un angelo. In the most fascinating section of all, the old man launches into Violetta's famed Sempre libera, sounding hoarse, wildly off key, but somehow convincing in the aria's feverish abandon...
...burnished voice the natural embodiment of opera's great villains-the grandly tormented Macbeth, the insinuatingly oily hunchback Rigoletto, the ravening Count di Luna of Trovatore. But he was also wonderfully effective in roles that called for massive dignity and restraint-Germont in Traviata, the title role in Simon Boccanegra. What Warren lacked in natural acting ability he more than made up with his remarkable and splendidly controlled voice; it had impressive size, fine texture and immense range. Warren even commanded the top notes, including the high C that many a tenor lacks...
...scant help from a minor-league cast. As Alfredo, Tenor Daniele Barioni sang powerfully but uncertainly and sometimes off-key, acted in an emotional monotone that made his rages indistinguishable from his passions. In his U.S. debut, Italian Baritone Mario Zanasi displayed a smooth, ample voice but made his Germont pompous and wooden where he should have been dignified, faintly sentimental where he should have been compassionate...