[Met Tour] CID:83530



Mona Lisa
Academy of Music, Philadelphia, Pennsylvania, Tue, March 6, 1923




Mona Lisa (2)
Max von Schillings | Beatrice von Dovsky
Wife, Fiordalisa
Barbara Kemp

Tourist, Francesco
Michael Bohnen

Monk, Giovanni
Curt Taucher

Pietro
Carl Schlegel

Sandro
William Gustafson

Masolino
Louis D'Angelo

Alessio
Max Bloch

Arrigo
George Meader

Dianora
Ellen Dalossy

Ginevra
Frances Peralta

Piccarda
Marion Telva


Conductor
Artur Bodanzky







Review 1:

Review in the Philadelphia Evening Bulletin

AN OPERATIC MONA LISA

Schilling's Setting of Romantic Narrative at Academy of Music

A new opera with two important new singers, Barbara Kemp and Michael Bohnen, came as a distinct novelty in the series of performances by the Metropolitan Opera Company at the Academy of Music last evening, when "Mona Lisa" with book by Beatrice Dovsky and music by Max Schillings, had its first presentation in Philadelphia, being sung in German. The story is supposed to explain the "enigmatic smile" which rests upon the lips of Mona Lisa in the celebrated portrait. It is a fanciful tale that Miss Dovsky tells in a prologue, two acts and an epilogue. One first sees a man and woman of today visiting the Giocondo mansion in Florence and listening to the tale told by a monk, whose vivid explanation of the meaning of "the smile" forms the central and principal part of the opera.

There is an artistic setting in the Florentine mansion, and as the story of Mona Lisa and her lover, a "flashback" to the 15th Century, unfolds to its tragic ending the music is supposed to elucidate the passing incidents. It is music of elaborate orchestral texture, the instrumental parts being by far the most important, the singers, as is the "modern" way, having little opportunity really to "sing." But being required to indulge in much rather dry recitative and to rise at times to heights of declamatory expression. Of set "arias" and numbers of the old-style operatic kind there are few, though traces of melody creep into the voice parts, perhaps the most melodious "number" being a brief duet for soprano and alto in the second act, and there are some effective choruses, contrasting to gay crowds singing in praise of Venus and the solemn chanting of the monks. There are two melodious off-stage choruses, the first, during one of the most dramatic moments in the action, being remindful of the second act of "Tosca," and the other suggesting the Miserere in "Trovatore." The orchestra rises to a tremendous climax after the culmination of the tragedy, preceding the epilogue.

There were tedious moments in last night's performance, when some real "singing" would have been welcome, but the second act brings emotional fervor and a thrilling climax after Francesco, discovering his wife's perfidy, shuts her lover in the large wall cabinet, where he later also finds his doom, when Mona Lisa closes him in with the corpse of Giovanni. Here Mme. Kemp, who is said to have sung the role of Mona Lisa many times in Germany, rose to dramatic heights that won her a triumph. Her voice is not unusual in quality, but it is strong and vibrant and she sings with authority. Her make-up and costuming present a fair replica of the famous portrait, though the unfathomed smile is only dimly suggested. Her acting is excellent, the roll down the steps rivaling anything the innovating Jeritza has done.

Mr. Bohnen is a man of fine presence, of ease and dignity, with a resonant baritone voice of virile quality. He was sufficiently stern and cruel as Mona Lisa's vengeful husband. He and Mme. Kemp were recalled at least half a dozen times after the first act. Curt Taucher, William Gustafson, Ellen Dalossy, Frances Peralta and Marion Telva were other members of the cast who deservedly might be given individual mention. Mr. Bodanzky conducted with the splendid skill for which he is noted.



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