[Met Tour] CID:86240



Lucia di Lammermoor
Philadelphia, Pennsylvania, Tue, February 5, 1924




Lucia di Lammermoor (114)
Gaetano Donizetti | Salvadore Cammarano
Lucia
Amelita Galli-Curci

Edgardo
Orville Harrold

Enrico
Giuseppe De Luca

Raimondo
Jos? Mardones

Normanno
Pietro Audisio

Alisa
Grace Anthony

Arturo
Angelo Bad?


Conductor
Giuseppe Bamboschek







Review 1:

Review in an unidentified Philadelphia newspaper

GALLI-CURCI AS LUCIA

Donizetti Opera With Famous Soprano at Academy Last Night

Once more poor, hapless Lucia di Lammermoor loved in vain, lost her wits and warbled her woes in florid coloratura phrases at the Academy of Music last evening, when Donizetti's melodious opera was presented by the Metropolitan Opera Company. The revival - if that term may be applied to a work which never has been long out of vogue - was for the purpose of again bringing Amelita Galli-Curci before a Philadelphia audience, her first appearance here this season in opera. Many opera lovers have little use for "Lucia." They call it trivial and tinkling and old-fashioned. and a few other uncomplimentary things. But their opinion has little weight, since this and other tuneful operas of about the same style and caliber survive year after year and ever find renewed welcome, particularly when there is a famous prima donna or a favorite tenor to appear in them. There usually is excuse for "Lucia" when Mme. Galli-Curci is on the stage to go mad in it. The role of Sir Henry Ashton's sister, compelled by him, for his own selfish reasons, to give up the man she loves and marry the one she abhors, probably is the Italian prima donna's best. At any rate it is one of the most inviting of all roles for coloratura sopranos who like to show what they can do in the way of roulades and trills and high top notes.

But it was a far from satisfactory performance to which last night's audience listened, though the favorite Sextet went fairly well, winning its usual outburst of applause, and Mme. Galli-Curci triumphed when she came to the famous "Mad Scene." The first act aria, "Regnava nel Silenzio," (Silence O'er All) was not so well sung. The voice did not at first sound entirely free nor the singer seem wholly at ease, and there was the old tendency to sag below pitch. But there were beautiful tones and fluent execution, nevertheless, though it was not until Lucia had gone insane, stabbed her husband on their nuptial night and appeared on the scene with the dagger in her hand that she seemed like herself. This intricate aria, with its florid duet with the flute, was acceptably sung, as to sweetness and suppleness of tone, though there was not the splendid brilliance of climax with which Tetrazzini used to rouse her audience to great enthusiasm. The late-corners were again conspicuous, causing much annoyance, during Galli-Curci's first aria, to those sincere opera-lovers who had taken pains to be on time.

The most successful member of the supporting cast was Giuseppe De Luca of rich and mellow baritone and fine artistry of vocalism, as Sir Henry. The tenor was Orville Harrold, substituting as Edgardo, for Mario Chamlee, whose name was on the program. Mr. Harrold showed enthusiasm and had his good moments, noticeably in the Sextet, in which the important tenor part was well sustained. Jose Mardones disclosed his sonorous bass in the smaller part of Raimondo. Angelo Bada was Lucia's unwelcome and slaughtered husband, Arturo, and Grace Anthony appeared as Alisa. Giuseppe Bamboschek conducted with notable efficiency and lured some good work from chorus and orchestra.



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