[Met Performance] CID:91880
Cavalleria Rusticana {238}
Pagliacci {245}
Matinee ed. Metropolitan Opera House: 01/8/1926.

(Review)


Metropolitan Opera House
January 8, 1926 Matinee


CAVALLERIA RUSTICANA {238}

Santuzza................Rosa Ponselle
Turiddu.................Beniamino Gigli
Lola....................Marion Telva
Alfio...................Mario Basiola
Mamma Lucia.............Grace Anthony

Conductor...............Gennaro Papi


PAGLIACCI {245}

Nedda...................Queena Mario
Canio...................Armand Tokatyan
Tonio...................Titta Ruffo
Silvio..................Millo Picco
Beppe...................Giordano Paltrinieri

Conductor...............Gennaro Papi

Review of Leonard Liebling in the New York American

The veritable deluge of orchestral doings during the past few days has forced upon peripatetic critics the unwilling necessity of dealing out rather cavalier treatment to the always interesting activities at the Metropolitan Opera House. It was a decided relaxation from the sterner duties of concert-going to slip into the purely lyrical domain yesterday afternoon and listen to "Cavalleria Rusticana" and "Pagliacci,," those two inseparables who have been parted for a performance or two occasionally, but evidently never will be completely divorced.

In the Mascagni work, Rosa Ponselle handled the heavy tragedy and dramatic music of her part with evident relish for both. Her voice is in excellent estate this season. Her fine performance in hot-blooded "Cavalleria," and her notable achievements in classical "La Vestale" are convincing proof of this young artist's growing powers and versatility.

Beniamino Gigli also is making some new strides. His recent taxing vocal contributions to "The Jest," and his impassioned singing in yesterday's "Cavalleria," remove him from the list of tenors who cultivate only the easily flowing lyrical line. Marion Telva was a smooth-voiced, but never over-coquettish Lola. Mario Basiola repeated his Alfio impersonation. Grace Anthony was the Lucia.

The "Pagliacci" tenor was Armand Tokatyan, who won marked honors with his colorful tones and warm delivery, plentifully supplied with the traditional sobs in the "Ridi" aria. Queena Mario made a plump and pleasant Nedda, who acted vivaciously, and sang the "Bird Song" in confident and spirited style.

Of course Titta Ruffo captured the histrionic glory of the show. He is an operatic character actor of supreme skill. The baritone's singing of the "Prologue" was an eloquent piece of delivery. Millo Picco made the small role of Silvio stand out through his vibrant voice and smooth phrasing.

Gennaro Papi conducted both performances in clear-cut and finished fashion.



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