[Met Tour] CID:101050



L'Amore dei Tre Re
American Academy of Music, Philadelphia, Pennsylvania, Tue, January 15, 1929




L'Amore dei Tre Re (50)
Italo Montemezzi | Sem Benelli
Fiora
Rosa Ponselle

Avito
Edward Johnson

Manfredo
Lawrence Tibbett

Archibaldo
Adamo Didur

Flaminio
Angelo Bad?

Maid
Mary Bonetti

Young Woman
Mildred Parisette

Old Woman
Dorothea Flexer

Youth
Max Altglass


Conductor
Tullio Serafin







Review 1:

Review of H. T. Craven in the Philadelphia Record

Opera Patrons Get Treat in Mme. Ponselle

'L'Amore dei Tre Re,' Masterpiece of Montemezzi, Is Produced by Metropolitan

Dramatic action, authentic poetry and clairvoyant music are fused more successfully in "L'Amore dei Tre Re," that in any opera written within 16 years. The commanding power of this synthesis finds a demonstration in the retention of this lyric play in the repertoire when so many other operas composed since 1913 - the date of Montemezzi's masterpiece - have passed into eclipse.

The fine-textured work wrought a characteristic spell of tragic beauty last evening in the admirable presentation by the Metropolitan company. In spite, however, of the signal vocal achievements, the performance occasionally lacked that idealized expression of fateful loveliness and imaginative conviction for which Sem Benelli, who devised the exquisite libretto and Italo Montemezzi, the inspired composer have furnished the frame. The shortcoming may be ascribed unhesitatingly to the absence of Lucrezia Bori, unsurpassed interpreter of the role of Fiora and the creator of the part with the Metropolitan in the American production of 1914.

There was no change in the announced cast last night, for Mme. Bori had not been billed to sing here. Fiora had been assigned to Rosa Ponselle, a soprano of much more sweeping vocal gifts, but decidedly inferior to Mme. Bori as a dramatic artist. Mme. Ponselle's tones soared so gloriously and with such lustrous freedom as to win new triumphs for her. What she fails to convey is the deep poetic implication of the role, its subjective values and also visual conviction.

Truth to tell, Rosa Ponselle, one of the truly great vocal artists of the day, is literally somewhat too substantially great for the fragrant, elusive, almost evanescent Fiora. Adamo Didur, who carries Fiora across stage on his shoulder, after he has slain her, has no mean feat of strength and dexterity to perform when Mme. Ponselle is the tragic heroine. He won the admiration of the audience last evening with his exploit. Mme. Ponselle's reading of the part has improved since her last appearance here as Fiora, but it is doubtful if she will ever quite be in the picture. But her voice, possibly the most radiant and resourceful among the Metropolitan's sopranos, had some superb compensatory attributes notably in the ecstatic music of the second act.

Edward Johnson as Avito accents all the due romanticism of the role and last evening he was in excellent voice. Lawrence Tibbett's Manfredo had somber passion and noble distinction and Adamo Didur grasped in veteran style the rich dramatic opportunities in the role of Archibaldo, the blind king who is the mainspring of this atmospheric music play of star-crossed hearts beating amid the darkness and subtle beauty of medieval Italy when the Goth fell in love with her. Mr. Didur has almost no notes left in his voice today. He intoned explosively, no sonority left in a once melodious basso.

Settings and auxiliary features, including the small chorus employed briefly in the poignant tomb scene, accorded artfully with the spirit of the work and Mr. Serafin, commanding the orchestra, performed one of his marvels of interpretation. It was his achievement, most of all, that gave to "L'Amore dei Tre Re" its puissance last night. Nothing of delicate suggestion, nothing of passionate proclamation incorporated in the wondrous score escape his penetrating and affectionate consideration.



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