[Met Performance] CID:83130
Rigoletto {128} Academy of Music, Philadelphia, Pennsylvania: 02/6/1923.

(Review)


Philadelphia, Pennsylvania
February 6, 1923


RIGOLETTO {128}
Giuseppe Verdi--Francesco Maria Piave

Rigoletto...............Giuseppe Danise
Gilda...................Amelita Galli-Curci
Duke of Mantua..........Mario Chamlee
Maddalena...............Flora Perini
Sparafucile.............José Mardones
Monterone...............Paolo Ananian
Borsa...................Angelo Badà
Marullo.................Millo Picco
Count Ceprano...........Vincenzo Reschiglian
Countess Ceprano........Grace Anthony
Giovanna................Grace Anthony
Page....................Virginia Grassi

Conductor...............Giuseppe Bamboschek

Review (unsigned) in the Philadelphia Record

GALLI-CURCI HEARD IN THE ROLE OF GILDA

'Rigoletto' Provides Opportunities for the Popular Coloratura

Time and the Metropolitan Opera Company wait for no man. For that reason there were many late comers last evening at the Academy of Music when "Rigoletto" was the operatic offering and when the snow so impeded traffic that the long line of automobiles extending out Locust Street from Broad was still having additions until a quarter of 9 o'clock. But the opera singers were at the Academy and so was the orchestra and the custom of beginning a performance at 8 o'clock was not changed. It could easily have been arranged to begin the performance in conformity with the state of the weather and the difficulties in the way of arriving, but no thought of such a delay apparently entered the mind of the man directly in charge, and so many patrons missed the entire first act and some did not arrive until well along in the second. They must have felt some chagrin too, when at 10:30 the final curtain fell and the opera evening was over.

Galli-Curci was the effulgent star and the attendance was in accord with her popularity. She sang the role of Gilda - the part that introduced her to the American operagoer at Chicago in 1916. She was brilliant in the role, her "Caro nome" giving her fine opportunities for the loveliness of her upper register and the quartet in the last act providing her with splendid moments. Her voice, if anything, seemed stronger than ever before. It is likely that she is gaining in this respect. She greatly pleased her many admirers throughout. She was rather daring in one of her costumes though - her flimsy negligee disclosing the distraught Gilda's nether limbs with considerable frankness.

Mario Chamlee was heard as the Duke. Chamlee has a resonant tenor, but he was inclined to use his own tempo, especially in the "Donna Mobile." He acted spiritedly. In the part of Rigoletto was Giuseppe Danise. He, too, gave emphasis to the enactment of the part, but he did not eclipse in any way the interpretation and the voicing of the jester's role by De Luca, of pleasant memory. The sonorous Josè Mardones made an impressive Sparafucile and Flora Perini was equally effective in the part of Maddelena. The other roles were in capable hands. The chorus work, as usual, was well done. Bamboschek conducted in the absence of Papi, who was ill, and under the circumstances gave a good performance.



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