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As the lady of the camelias, born to a complication of phthisis, moral frailty and coloratura, Amelita Galli-Curci returned to the Metropolitan Friday night, to grace the cast of the season's first "Traviata." Since the time of her first visits to New York as a member of the Chicago organization, Violetta has been one of the soprano's happiest roles, and in recognition of this, "Traviata" was used to open the Metropolitan season of 1921-22. The selection of the work to mark her first appearance this year was given a stamp of popular approval in the form of a more than usually crowded auditorium.

Nervousness was apparent in Mme. Galli-Curci's singing throughout the first act. Her intonation sagged frequently, and the bravura of "Sempre Libera" was plainly reflective of a lack of ease. Later, in the scene with the elder Germont, and again in the death episode, the velvety charm of the soprano's legato singing asserted itself very gratefully for the ear. The impersonation retains an effect of wistfulness that heightens the final tragedy.

Mario Chamlee's Alfredo was admirably sung, if at times lachrymosely so. His fine voice has never sounded more thoroughly Italian than in this music. Giuseppe de Luca has for some years been the p?re par excellence and his "Di Provenza" had its wonted effect; so, too, his fine singing in the duet with Mme. Galli-Curci. The cast otherwise was a competent one, the singers including Giordano Paltrinieri, Millo Picco,?Paolo Ananian, Minnie Egener and Grace Anthony, with Tullio Serafin conducting with his customary virility.

Search by season: 1925-26

Search by title: La Traviata,

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