[Met Performance] CID:101180
La Traviata {155} Metropolitan Opera House: 01/25/1929.

(Review)


Metropolitan Opera House
January 25, 1929


LA TRAVIATA {155}
Giuseppe Verdi--Francesco Maria Piave

Violetta................Amelita Galli-Curci
Alfredo.................Giacomo Lauri-Volpi
Germont.................Mario Basiola
Flora...................Minnie Egener
Gastone.................Angelo Badā
Baron Douphol...........Vincenzo Reschiglian
Marquis D'Obigny........Millo Picco
Dr. Grenvil.............Paolo Ananian
Annina..................Philine Falco
Dance...................Rita De Leporte

Conductor...............Tullio Serafin

Review signed C. D. L in the New York Telegraph

Galli-Curci

The unfortunate Violetta in "La Traviata," was interpreted last night by none less than Amelita Galli-Curci. A crowded Metropolitan Opera house indicated quite clearly that bad weather means nothing in the life of the music lover, when a good performance is anticipated.

A spirited presentation was instantly assured when Tullio Serafin lifted the baton. In his hands, like those of Bodanzky, a richness and fullness are apparent. The graceful and insinuating melodies were clearly to be observed, like the figurations in a fine old tapestry, when it has been thoroughly renovated and cleaned. Every detail shone through, every color and shade.

As always Mme. Galli-Curci makes a graceful and pleasant figure on the stage. In "Traviata" she is particularly felicitous as the hostess of the first act. Her death scene is sincere and plausible.

Throughout the evening, there seemed a slight hesitancy on the diva's part, but this was unjustified for, almost without exception, she delivered the lines in her usual velvety voice, and without interruption of the difficult phrases. Although the aria "A fors'č lui" was flat the "Sempre libera" regained itself and from that point on she was surpassing.

As well as Signor Lauri-Volpi sings the part of Alfredo, he is not the right tenor to appear opposite Galli-Curci. Her quality is soft and delicate; his is robust and striking. He does not seem able to, or adaptable enough to sense the situation. After all duets must blend. If Galli-Curci could sing as vigorously as he, she would, I am sure, meet him half way. But hers is a fragile, petal-like offering; he must soften to her. The other night in "Rigoletto" de Luca was artist enough to do this and the duets between Gilda and Rigoletto were exquisite, those between Gilda and the Duke (Lauri-Volpi) of uneven texture.

Last night Mario Basiola was even less adaptable than Lauri-Volpi; taken apart from the ensemble, when he appeared together with Galli-Curci, he nearly drowned out the loveliness of her hot-house flowering.

Rita de Leporte headed the ballet in dances arranged by Rosina Galli for the third act. It was a fine bit of work, especially in the gypsy divertissement. Altogether, a superior performance, and one which demonstrated the quality of the Metropolitan institutional advantages, and the unrivaled voices of the principals.



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