Metropolitan Opera Archives

Cavalleria Rusticana received four performances this season
Pagliacci received twelve performances this season.

Review 1:

Review in a New York newspaper

Operatic history repeated itself at the Metropolitan Opera House last evening when the popular double bill "Cavalleria Rusticana" and "Pagliacci," were given for the first time this season and entertained a great audience that thronged the large auditorium and filled it to its last resources of seating and standing capacity. Were it not for the sake of the record due the presentation of these two partners it would not be necessary to state that the house had been sold out for some days previous to their performance. Not to mention the central point of interest connected with the latter, namely, that Mr. Caruso appeared as Canio in the Leoncavallo work.

Whence the power of magic spell cast upon the public through the association of the great tenor's name with that of the little tragedy, it is impossible to say. During the movement of its two acts he occupies the stage for a comparatively short space of time, while the episodes attracting chief attention as his artistic endeavors center themselves, first of all, in the beating of a bass drum and the singing of one air, "Ridi, Pagliaccio." But it is probable that after all the potency of magic charm here exerted is but truth, and its existence is in the few precious moments of the drama which afford this great singer occasion for a display, not only of a turbulent passion when in action, but of the gorgeous beauty of his voice.

The other chief members in the cast are familiar here in their parts. They included Miss Bori as Nedda and Mr. Amato as Tonio. Mr. Bada was the Beppe and Mr. Reschiglian the Silvio.

In the Mascagni opera there was a new Turiddu, Italo Cristalli, who recently made his debut here in "Lucia." Although it can be said that the impression he made last night was in all respects sincere and in some more favorable than when he was first heard, yet his voice was at times deficient in power and quality, and his acting hardly up to the requirements of his part. The other roles were each in well known hands. Mme. Destinn was the Santuzza and Mme. Duchene, the Lola. Mr. Gilly was Alfio and Mme. Maubourg, the Lucia.

The performance of the two little tragedies, so similar in plot and musical treatment, was each in turn given with a general spirit of vigor and freshness and created the enthusiasm expected. Much praise is due to Mr. Polacco for his conducting.

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