[Met Performance] CID:95860
Cavalleria Rusticana {249}
Pagliacci {257}
Metropolitan Opera House: 03/17/1927.

(Review)


Metropolitan Opera House
March 17, 1927


CAVALLERIA RUSTICANA {249}

Santuzza................Elda Vettori
Turiddu.................Armand Tokatyan
Lola....................Ina Bourskaya
Alfio...................Mario Basiola
Mamma Lucia.............Minnie Egener

Conductor...............Vincenzo Bellezza


PAGLIACCI {257}

Nedda...................Mary Lewis
Canio...................Edward Johnson
Tonio...................Giuseppe De Luca
Silvio..................Lawrence Tibbett
Beppe...................Angelo Badą

Conductor...............Vincenzo Bellezza

Review of Leonard Liebling in the American

Mary Lewis Makes Debut as Nedda in 'Pagliacci'

Mary Lewis, young American soprano at the Metropolitan, seems to have fallen heir to roles representing frail ladies in several shades of scarlet. Following her Mimi in "Bohčme" and her Giuletta in "Tales of Hoffmann, " Miss Lewis last night essayed Nedda in "Pagliacci," that sultry signorina whose amorous al fresco dallyings are interrupted so inconsiderately by the jealous clown, Canio, and his vengeful knife.

Nedda has to do a fair share of singing, to act archly, submissively, angrily, romantically and tragically. She even has to dance and to set a dinner table. Vocally, Miss Lewis answered well the requirements of the part. Her tones sounded smooth and confident, and she handled them with art and adroitness. The "Bird song" had effective pulse and passion. As an actress the young artist lacked some of the ease and variety which have been exhibited here by other Neddas of more experience - and years - than Mary Lewis.

Edward Johnson was the skilled operatic interpreter, as Canio. He put fire into his portrayal, and he reached tellingly the emotional high-water mark (not meaning tears alone) which has become traditional in the utterance of the famous sobful aria.

Tonio exercised his baleful agencies in the person of Giuseppe De Luca, who delivered the "Prologue" with intelligent meaning and fine musical effect. Lawrence Tibbett, a suavely singing Silvio, and Alfio Tedesco, the Beppe, completed the cast.

Inevitably preceding "Pagliacci," was "Cavalleria Rusticana," in which Elda Vittori, the young Italian-American soprano from St. Louis, repeated the success she achieved earlier in the season as Santuzza. Again the Vittori warmth of voice and the impassioned sincerity with which she acted the woes of the wronged peasant girl found generous response from her listeners. Here seems to be a youthful Ponselle or Muzio in the making, if she could show somewhat more steadiness in tone production.

Turiddu was sung rousingly by Armand Tokatyan, Ina Bourskaya was a sufficiently flirtations Lola and Mario Basiola enacted the pivotal part of Alfio, the teamster, tippler, and duelist. Minnie Egener was the maternal Lucia, who stepped forth from the house when the doomed Turiddu called for his "mama."

Both operas were conducted stirringly by Vincenzo Bellezza.



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