[Met Performance] CID:92190
Rigoletto {146} Matinee ed. Metropolitan Opera House: 01/30/1926.

(Review)


Metropolitan Opera House
January 30, 1926 Matinee


RIGOLETTO {146}
Giuseppe Verdi--Francesco Maria Piave

Rigoletto...............Giuseppe De Luca
Gilda...................Amelita Galli-Curci
Duke of Mantua..........Mario Chamlee
Maddalena...............Marion Telva
Sparafucile.............José Mardones
Monterone...............Paolo Ananian
Borsa...................Angelo Badà
Marullo.................Vincenzo Reschiglian
Count Ceprano...........Louis D'Angelo
Countess Ceprano........Minnie Egener
Giovanna................Henriette Wakefield
Page....................Paolina Tomisani

Conductor...............Tullio Serafin

Review signed D. B. in Musical America

The First 'Rigoletto'

Conducting the season's first "Rigoletto" on Saturday afternoon, Jan. 30, Tullio Serafin lavished on the ever-vital score all the thoughtful enthusiasm which might be expected from a maestro of his affiliations and reputation. Especially did Mr. Serafin seem interested in scenes depicting the complexities and dolor of Rigoletto's inward strife, as in the first part of the Second Act and the duet with Gilda in the Third Act. At such times, what Rigoletto thought, the orchestra said.

Giuseppe De Luca, having the title role, sang invariably like the thorough musician he is. Never was his tone forced, yet ever was it ample and always was there volume in reserve for climaxes. In details of phrasing and legato also, Mr. Luca was consistently artistic. Mario Chamlee as the Duke was at his best, acting with greater naturalness than he sometimes achieves and singing for the most part in a style that was genuinely lyrical.

Amelita Galli-Curci, appearing as Gilda, found many friends in the audience ready to do her honor. She sang chiefly with a beautiful quality of tone, though not entirely in tune. As Maddalena, Marion Telva was happily cast, her rich voice and attractive presence giving the necessary filip to the last act. Jose Mardones was the Sparafucile, a rôle which shows to advantage the splendid timbre of his voice. Paolo Ananian gave authority to Monterone's measures, and supplementary parts were capably taken by Henriette Wakefield, Minnie Egener, Louis D'Angelo, Vincenzo Reschiglian, Angelo Bada and Paolina Tomisani..



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