[Met Performance] CID:85600
Fedora {12} Metropolitan Opera House: 12/21/1923.
(Review)
Metropolitan Opera House
December 21, 1923
FEDORA {12}
Fedora Romazov..........Maria Jeritza
Count Loris Ipanov......Giovanni Martinelli
Countess Olga Sukarev...Queena Mario
De Siriex...............Antonio Scotti
Desirè..................Giordano Paltrinieri
Sergio..................Pietro Audisio
Dimitri.................Louise Hunter
Gretch..................Louis D'Angelo
Lorek...................Paolo Ananian
Cirillo.................Italo Picchi
Baron Rouvel............Angelo Badà
Dr. Borov...............Millo Picco
Boleslao Lazinski.......Georges Sébastian
Peasant Boy.............Marion Telva
Conductor...............Gennaro Papi
Review of W. J. Henderson in the Sun
Third 'Fedora'
Giordano's "Fedora" was sung for the third time since its recent revival at the Metropolitan Opera House last evening. A large and brilliant audience gave every manifestation of interest and approval as the plot of Russian tragedy and love was unfolded by the Italian composer's vivid score.
Mme. Jeritza as the Princess Fedora again enlivened her impersonation by many dramatic effects of telling force. Her singing had abundance of passionate utterance, and in trying to fill the lack of verve in parts of her music, in large part of mediocre type, her acting at times even went over into the realms of melodrama.
Mr. Martinelli as Loris Ipanov sang and acted with power and buoyant life and made an excellent impression. Mr. Scotti's De Siriex was an elegant and artistic figure of the ensemble. He won some special attention by his old Russian song. Miss Mario as the Countess Olga was charming and George Sebestyen, "Polish pianist, nephew and successor of Chopin," was one of the features of the ball scene of the second act with his romantic piano solo. Among the minor roles, and both were well taken, were Italo Picchi's Cirillo and Louis d'Angelo's Crech. A minor change in the cast brought Miss Louise Hunter in place of Miss Ellen Dalossy as Dimitri.
The new Urban settings with mention, first of all, of the third act's Swiss conservatory with garden in front and Bernese Alps in the distance, were pictorially delightful and made a fitting background for the smooth representation of the opera under Mr. Papi's baton.