[Met Performance] CID:79110
Madama Butterfly {151} Matinee ed. Metropolitan Opera House: 11/24/1921.

(Debut: Paolo Quintina
Review
)


Metropolitan Opera House
November 24, 1921 Matinee


MADAMA BUTTERFLY {151}
Puccini-Illica/Giacosa

Cio-Cio-San.............Geraldine Farrar
Pinkerton...............Giovanni Martinelli
Suzuki..................Rita Fornia
Sharpless...............Antonio Scotti
Goro....................Giordano Paltrinieri
Bonze...................Louis D'Angelo
Yamadori................Pietro Audisio
Dolore..................unknown
Kate Pinkerton..........Minnie Egener
Commissioner............Vincenzo Reschiglian
Yakuside................Paolo Quintina [Debut]

Conductor...............Roberto Moranzoni

Director................Armando Agnini
Set designer............Burghart & Co.
Costume designer........Blaschke & Cie

Madama Butterfly received nine performances this season.

Review of Oscar Thompson in Musical America

Farrar in 'Butterfly'

For the first time in several seasons, if the writer is not mistaken, Geraldine Farrar sang the high C at the close of the love duet which ends the first act of "Madama Butterfly" when the Puccini opera was sung Thanksgiving Day at a special matinee. It was a good C, taken in unison with Giovanni Martinelli, the Pinkerton of the cast, who was in fine fettle and who, aside from a momentary bobble as to his notes in the first act, sang with something more than his customary success throughout the opera.

Never has Mme. Farrar been prettier and never has her picture-poster portrayal of the Japanese bride been more vividly appealing. But the marked improvement in her singing of the role, over that of previous seasons, was what stood out most prominently in her CioCio-San. Her newly acquired mezza-voce was charming in the childish chatter of the marriage scene, and not in years has she sung the music of her first-act entrance so well. True, she seemed to be nursing her voice, and only occasionally, as in "Un bel di," was it used with its former power, but it was distinctly more satisfying because of this new measure of restraint.

In addition to the admirable Pinkerton of Martinelli, the well-rounded Suzuki of Rita Fornia and the ever-fascinating Sharpless of Antonio Scotti gave distinction to the performance. Minnie Egener, Giordano Paltrinieri, Pietro Audisio, Louis d'Angelo, Paolo Quintina, and Vincenzo Reschiglian cared for the secondary roles. Mr. Moranzoni conducted.



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