Above: Régine Crespin as Charlotte
On March 31st, 1971, I saw Massenet’s WERTHER for the first time. It was one of the events of the season, as the beloved soprano Régine Crespin was singing Charlotte with the Company for the first time, and Franco Corelli was repeating his popular success as the melancholy poet of the title-role.
Mme. Crespin seemed to be transitioning to mezzo-soprano roles at this point in her career. By 1975, she would soon be owning the role of Carmen with her unique portrayal of the seductive gypsy. But while both Charlotte and Carmen had sometimes been sung by sopranos, Crespin’s increasing discomfort in the upper range meant that her days as the Marschallin, Sieglinde, and Tosca were over. Her final Met role with Mme. de Croissy in Poulenc’s DIALOGUES DES CARMELITES, in which she appeared with the Company for the last time in 1987.
There had been rumors of the French diva’s vocal and personal crises, but on the night of the WERTHER, we were simply happy to be seeing and hearing her again…and in a new role.
Regine Crespin – Air des Larmes ~ WERTHER
Here’s what I wrote in my opera diary the morning after:
“WERTHER – First time. I liked it, for the most part, though only the third act really drew me in. The sets were beautiful, and Alain Lombard conducted well. Fernando Corena as the Bailiff was excellent, as was John Reardon in the rather short role of Albert. Gail Robinson was a fine Sophie; her voice and stage presence are very appealing.
Corelli was an Italianate Werther, and his acting bordered on the hammy. But he was in far better voice than in last season’s DON CARLO. He looked very handsome. Werther’s death scene, which goes on and on and on, made me impatient for the curtain to fall. Corelli’s fans were delirious during the bows.
Crespin had a huge triumph as Chatlotte! Her voice is not all it once was, but she had many wonderful passages. The range of the role suits her well, and she looked beautiful. In Acts I and II she did some lovely soft singing, and in the third act she was really marvelous: both the Air des Lettres and the Air de Larmes were VERY effectively sung and heavily applauded, and she ended the act thrillingly. She had some pitch trouble in the final act, but was still very exciting. BRAVISSIMA! Crespin was very sweet backstage, after having received a thunderous ovation. Photo! A very nice night!”
I still remember the long ovation after the final curtain, with the principals called out several times. Up in the Family Circle, the mood was celebratory: between the Corelli fans and the Crespin admirers, there was plenty of cheering.
Above: Corelli and Crespin onstage; a Met Opera photo
I went backstage after the performance; Mme. Crespin looked radiant and was very charming when I asked to take her photo. I can’t recall why I didn’t ask her to sign my cast page that night, but here’s the happy prima donna:
~ Oberon
Oberon's Glade 