[Met Performance] CID:79100
La Traviata {111} Metropolitan Opera House: 11/23/1921.
(Review)
Metropolitan Opera House
November 23, 1921
LA TRAVIATA {111}
Giuseppe Verdi--Francesco Maria Piave
Violetta................Amelita Galli-Curci
Alfredo.................Beniamino Gigli
Germont.................Giuseppe Danise
Flora...................Minnie Egener
Gastone.................Angelo Badà
Baron Douphol...........Millo Picco
Marquis D'Obigny........Mario Laurenti
Dr. Grenvil.............Paolo Ananian
Annina..................Grace Anthony
Act II, Scene II Divertissement
Rosina Galli, Florence Rudolph, Giuseppe Bonfiglio, Corps de Ballet
Conductor...............Roberto Moranzoni
Review of D. L. in Musical America
First 'Traviata' Repetition
The first repetition was on Wednesday evening, when "Traviata" was given with Amelita Galli-Curci as Violetta. Beniamino Gigli again was the Alfredo, but Giuseppe Danise replaced De Luca as the elder Germont. There were those in the audience who sensed a difference between this performance and the earlier one. It was a smoother, more finished presentation than that of the opera [first night], when the usual nervousness and tension were noted among the principals.
It is said that when the new settings for "Traviata" were being executed and the cast was being made up, the general manager made the comment that he would give subscribers a "Traviata" they would remember for twenty-five years. In the writer's opinion, he has succeeded. Mme. Galli-Curci, especially, grows apace in the favor of Metropolitan audiences, and it is not difficult to foresee that she will occupy a very special place in their affections ere the season closes.
Fidelity to pitch, clean-cut enunciation, sustained singing in the legato passages to delight the hearts of lovers of bel canto and a perfect E flat after the "A fors E lui" were highlights in the soprano's presentation of the Verdi heroine. A Violetta such as this one has rarely come within the ken of New Yorkers. Mme. Galli-Curci surpassed previous accomplishments both vocally and histrionically. The lights and shadows of the "erring one's" life were vividly portrayed in coloring of tone, in gesture and in facial expression. It was a living, breathing and suffering heroine, and not merely, a painting which the audience looked upon. Her gowns, however, might have been paintings, they were so exquisite.
Gigli sang with more freedom than on the first night. Danise did good work, if at times a vibrato, possibly caused by nervousness, asserted itself. It is said he went on without rehearsal and he must be credited with an excellent performance. Mr. Moranzoni conducted.