[Met Performance] CID:70620



Il Trittico
Il Tabarro
Suor Angelica
Gianni Schicchi
Metropolitan Opera House, Fri, January 3, 1919




Il Trittico (4)
Giacomo Puccini


Il Tabarro (4)
Giacomo Puccini | Giuseppe Adami
Giorgetta
Claudia Muzio

Luigi
Giulio Crimi

Michele
Luigi Montesanto

Frugola
Alice Gentle

Talpa
Adamo Didur

Tinca
Angelo Bad?

Song Seller
Giordano Paltrinieri

Lover
Marie Tiffany


Conductor
Roberto Moranzoni


Suor Angelica (4)
Giacomo Puccini | Giovacchino Forzano
Angelica
Geraldine Farrar

Princess
Flora Perini

Genovieffa
Mary Ellis

Osmina
Margarete Belleri

Dolcina
Marie Mattfeld

Monitor
Marie Sundelius

Abbess
Rita Fornia

Mistress of Novices
Cecil Arden

Lay Sister
Marie Tiffany

Lay Sister
Veni Warwick

Novice
Phyllis White

Alms Collector
Kitty Beale

Alms Collector
Minnie Egener


Conductor
Roberto Moranzoni


Gianni Schicchi (4)
Giacomo Puccini | Giovacchino Forzano
Gianni Schicchi
Giuseppe De Luca

Lauretta
Florence Easton

Rinuccio
Giulio Crimi

Nella
Marie Tiffany

Ciesca
Marie Sundelius

Zita
Kathleen Howard

Gherardo
Angelo Bad?

Gherardo
Adamo Didur

Betto
Paolo Ananian

Marco
Louis D'Angelo

Gherardino
Mario Malatesta

Spinelloccio
Pompilio Malatesta

Amantio
Andr?s De Segurola

Pinellino
Vincenzo Reschiglian

Guccio
Carl Schlegel


Conductor
Roberto Moranzoni







Review 1:

Review of Max Smith in the American

Puccini's Operatic Three Leaf Clover at Metropolitan

Puccini's operatic three-leaf clover was exhibited for the third time in the Metropolitan Opera House last night, yet already there were signs that the Italian composer's latest experiment has not caught the fancy of the public. A brand new work from the pen of the man who wrote "La Boh?me," "Madama Butterfly" and "Tosca" is something surely that ought to exert an unusual attraction. But yesterday's audience did not indicate that such was the case. It was a large gathering, of course, but by no means one to overtax the capacity of the theater. Connoisseurs, moreover, could easily discern that more than a few persons had paid only their war tax.

As far as the writer has observed, however, no operas in this season's repertory are potent box-office magnets, save those in which Enrico Caruso appears. He is the only "star," it would seem, who can fill the auditorium completely; and well may the management long for the time when the demand for Wagner shall become articulate. Already voices are being heard, here and there, and before long, no doubt, Giulio Gatti-Casazza will find it feasible to give ear to the call.

Only the other day, after a performance of "Tosca," an Englishwoman, whose patriotism could not be questioned, remarked, very audibly in the foyer: "Pastry and whipped cream dainties are all very well, but one cannot subsist on such a diet forever. I have a craving for good red meat. I want to hear "Tristan und Isolde," for instance, and I think it is absolutely absurd to keep up the ban against Wagner." There is too little variety in the repertory of the Metropolitan Opera Company at present. And that is probably the reason why works which otherwise would be most acceptable are beginning to pall on the listener.

As for the three pieces heard again last night they were presented in a manner that left little to be desired, all of the principals in the casts - surely a brilliant array of artists - fulfilling their respective duties impressively. But the individual and concerted achievements of the performers could not make up for the composer's lack of spontaneity and inspiration. Only in "Gianni Schicchi" has the theatrical skill and musical dexterity of Puccini achieved notable results; and, regrettable as it may seem, the wit and charm of that fascinating comedy fails to win the full appreciation of the average devotee of grand opera. At every performance thus far have I heard people assert that they preferred "Il Tabarro" with its obvious melodramatic bombast.

Chief honors, as before, went last night to Claudia Muzio, who gave a dramatically intense portrayal of Giorgetta in "Il Tabarro;" to Gerladine Farrar, who sang and acted the part of Suor Angelica with emotional fervor and pathos; to Giuseppe de Luca, who repeated an inimitable impersonation of Gianni Schicchi; to Florence Easton, who sang the music of Gianni's daughter charmingly, coaxing much applause once more with the song, "O mio babbino caro;" to Giulio Crimi, whose mellow voice lent musical distinction both to the part of Luigi in the introductory tragedy and to the part of Rinunccio in the concluding comedy; and to Adamo Didur, who gave a highly amusing embodiment as the aged Simone.

Praise also is due to others in the casts (especially to Alice Gentle for her farcical interpretation of La Frugola) and to Roberto Moranzoni who wielded the baton. Wobbly moments between singers and orchestra were more frequent, however, than at either of the two previous presentations.



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