[Met Performance] CID:54565



Il Trovatore
Metropolitan Opera House, Fri, January 3, 1913




Il Trovatore (100)
Giuseppe Verdi | Salvatore Cammarano
Manrico
Leo Slezak

Leonora
Johanna Gadski

Count Di Luna
Pasquale Amato

Azucena
Louise Homer

Ferrando
Herbert Witherspoon

Ines
Emma Borniggia

Ruiz
Pietro Audisio

Gypsy
Vincenzo Reschiglian


Conductor
Giuseppe Sturani







Review 1:

Review of W. J. Henderson in the Sun

That "II Trovatore" will draw a good sized audience when offered with a strong cast was demonstrated once more last evening, when the old opera was repeated at the Metropolitan Opera House. It was an excellent performance in which all the principal singers were perfectly at home in their roles. They devoted themselves to the delivery of the music with a sincerity wholly commendable and poured out their voices with lavish generosity. The music of "Il Trovatore is decidedly singable, and as observant operagoers know much of it has genuine dramatic vitality, despite the fact that it is framed on old models and utilizes many of the elementary rhythm of dance music.

The opera requires a quartet of good singers, soprano, contralto, barytone and tenor, with a supplementary bass, who figures only in the first scene. This bass role, Ferrando, usually falls to the lot of Herbert Witherspoon, and he sang the music creditably last evening. Mme. Gadski, who has already been heard with delight in an important Wagner role and with equal pleasure in a Mozart part, was the Leonora. She was in full command of her vocal resources and sang with great brilliancy of tone and with excellent style That she felt confidence in her voice was shown by the boldness with which she successfully attacked the high D fiat at the end of the first scene. She was again most admirable in the "Miserere."

Mme. Homer was the Azucena, and she was also in fine voice. Her impersonation of the gypsy mother is in accord with the traditions of the part and deserves the favor with which it has always been received. Mr. Slezak, having recovered from the indisposition which compelled a change of opera earlier in the week, appeared as Manrico. This is one of the parts which is regarded as most favorable to a robust tenor voice, and recent performances at the Metropolitan have raised the question whether Mr. Slezak is not happier in lyric roles. However, most of the music of Manrico seems congenial to him and his "Di quella pira," has sufficient virility to evoke hearty applause. Mr. Amato, who sang Figaro in "Il Barbiere di Siviglia" for the first time in his career on Wednesday evening, was much more comfortable last night in an old and familiar part, the Count di Luna. He sang brilliantly and added greatly to the general effectiveness of the performance. Naturally the chorus and orchestra had no serious difficulties with their share of the opera.



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