[Met Performance] CID:79100



La Traviata
Metropolitan Opera House, Wed, November 23, 1921




La Traviata (111)
Giuseppe Verdi | Francesco Maria Piave
Violetta
Amelita Galli-Curci

Alfredo
Beniamino Gigli

Germont
Giuseppe Danise

Flora
Minnie Egener

Gastone
Angelo Badà

Baron Douphol
Millo Picco

Marquis D'Obigny
Mario Laurenti

Dr. Grenvil
Paolo Ananian

Annina
Grace Anthony

Dance
Rosina Galli

Dance
Florence Rudolph

Dance
Giuseppe Bonfiglio


Conductor
Roberto Moranzoni







Review 1:

Review of D. L. in Musical America

First 'Traviata' Repetition

The first repetition was on Wednesday evening, when "Traviata" was given with Amelita Galli-Curci as Violetta. Beniamino Gigli again was the Alfredo, but Giuseppe Danise replaced De Luca as the elder Germont. There were those in the audience who sensed a difference between this performance and the earlier one. It was a smoother, more finished presentation than that of the opera [first night], when the usual nervousness and tension were noted among the principals.

It is said that when the new settings for "Traviata" were being executed and the cast was being made up, the general manager made the comment that he would give subscribers a "Traviata" they would remember for twenty-five years. In the writer's opinion, he has succeeded. Mme. Galli-Curci, especially, grows apace in the favor of Metropolitan audiences, and it is not difficult to foresee that she will occupy a very special place in their affections ere the season closes.

Fidelity to pitch, clean-cut enunciation, sustained singing in the legato passages to delight the hearts of lovers of bel canto and a perfect E flat after the "A fors E lui" were highlights in the soprano's presentation of the Verdi heroine. A Violetta such as this one has rarely come within the ken of New Yorkers. Mme. Galli-Curci surpassed previous accomplishments both vocally and histrionically. The lights and shadows of the "erring one's" life were vividly portrayed in coloring of tone, in gesture and in facial expression. It was a living, breathing and suffering heroine, and not merely, a painting which the audience looked upon. Her gowns, however, might have been paintings, they were so exquisite.

Gigli sang with more freedom than on the first night. Danise did good work, if at times a vibrato, possibly caused by nervousness, asserted itself. It is said he went on without rehearsal and he must be credited with an excellent performance. Mr. Moranzoni conducted.



Search by season: 1921-22

Search by title: La Traviata,



Met careers