Word: rysanek
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...production did little to improve matters. The singing-by Baritone MacNeil in the title role, Soprano Leonie Rysanek and Mezzo-Soprano Rosalind Elias as the evil and good daughters of the King, Bass Cesare Siepi as a Jewish high priest-was generally good but rarely inspired. Conductor Thomas Schippers (who at 30 is the youngest conductor ever to open a Met season) whipped his orchestra through the score at a soprano-searing pace. The sets by Teo Otto and Wolfgang Roth were contradictory in style: an ornate realistic idol in one scene, a starkly abstract grillwork in another. Although...
Last week the Met gratefully honored the guild and Mrs. Belmont. Onstage, Barry Morell, Dorothy Kirsten, Leonie Rysanek, Zinka Milanov sang arias from L'Africaine, Louise, Tannhäuser, Bohème, supported by the Met orchestra, chorus and ballet, while Mrs. Belmont, 80, sat in the center box, as firmly as ever part of the Met scene. During intermission. General Manager Rudolf Bing presented to Mrs. Belmont a silver tray with the engraved signatures of the board members and guild staff...
...Destino last week, Schippers showed what he could do with an orchestra that only the week before, at the opening of Fidelia (TIME, Feb. 8), had sounded ragged and disorganized. "Tommy" Schippers had never conducted Verdi's Forza before, but he led orchestra and singers (Soprano Leonie Rysanek, Tenor Richard Tucker, both in top form) with a muscular authority that injected grand drama into every twist and turn of the tortuous plot. For Schippers, the essence of a good performance is spontaneity, and to achieve it when a performance becomes dull, he has been known to "make a deliberate...
...Daland, the Norse sea captain, Bass Giorgio Tozzi-convincingly costumed in turtleneck sweater, jacket and boots-sang with warm-timbred verve, while Tenor Karl Liebl turned in his best performance of the season as the huntsman Erik. But the real standout of a standout cast was Soprano Leonie Rysanek in the role of Senta, the self-sacrificing heroine who in characteristic Wagnerian style must die to secure the redemption of her lover. Her singing in the usually static second act was superb; her soprano rose and fell around London's steady tone, shot off in bursts of color, swooned...
...part of Lady Macbeth, which was to have been sung by Maria Callas before Rudolf Bing fired her (TIME, Nov. 17), went to radiant Viennese Soprano Leonie Rysanek, who in her Met debut showed off an unusually pure and beautifully rounded voice and considerable acting talent. Her only fault was that she scarcely fitted Verdi's bill ("I would have Lady Macbeth ugly and wicked ... her voice should be that of a devil"). For the most part, Soprano Rysanek seemed more like an ambitious Org Man's tender helpmate than a driven woman goading her weak husband...