[Met Performance] CID:88390



La Gioconda
Metropolitan Opera House, Wed, December 3, 1924




La Gioconda (72)
Amilcare Ponchielli | Arrigo Boito
La Gioconda
Florence Easton

Enzo
Beniamino Gigli

Laura
Jeanne Gordon

Barnaba
Giuseppe Danise

Alvise
Adamo Didur

La Cieca
Merle Alcock

Singer/Zu?ne
Millo Picco

Is?po
Giordano Paltrinieri

Monk
Louis D'Angelo

Steersman
Pompilio Malatesta


Conductor
Tullio Serafin







Review 1:

Review but probably by Ernest Newman, guest critic, in the Post

"La Gioconda" Repeated

"La Gioconda" is based on a plot of gloomy tortuosity true to the older forms of operatic tragedy, and the devotee painfully following the libretto must wonder why the "lion's mouth" was not stuffed with suggestions for action in lunatice inquirendo rather than with accusations of malignancy more suited to a "transit" situation than anything else.

Yet, on such a foundation has been reared a work of riotous splendor of tonal form and color that gives an effect of haughty elegance. Frankly conforming to the traditions of bel canto and interspersed with movements of a sensuous melody, this opera defies the common fate of becoming "hackneyed" in any part, nor are its opportunities of bravura seized upon for attempts at latitude and endurance records by singers of even rudimentary intelligence.

The current presentation of Ponchielli's masterwork at the Metropolitan is in accord with this spirit of the score, and appreciation of the fact by the audience last night was evident. There were spellbound instants, as when (in the "palace" setting) a dancing multitude "froze" in an attitude of prayer, its madrigal subsiding to a vesper chant, and when (in the fete scene) the gesture that exposed Laura's bier, also brought to our ears the distant strains of a rollicking barcarolle that performed the office of a dirge. Such vivid contrasts make up life and constitute moments of reality.

The audience's enthusiasm discharged itself upon the charming coryph?es who executed the "Dance of the Hours," and the roughish hussies deserved it. But it was none the less a tribute to composer, management, orchestra, chorus, scenic effects, and principals.



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