[Met Performance] CID:88580



Lucia di Lammermoor
Metropolitan Opera House, Wed, December 17, 1924




Lucia di Lammermoor (117)
Gaetano Donizetti | Salvadore Cammarano
Lucia
Toti Dal Monte

Edgardo
Mario Chamlee

Enrico
Giuseppe Danise

Raimondo
José Mardones

Normanno
Giordano Paltrinieri

Alisa
Minnie Egener

Arturo
Angelo Badà


Conductor
Gennaro Papi







Review 1:

Review of W. J. Henderson in the Sun

Mme. Dal Monte's Second Debut

Soprano loses Her Nervousness as She Sings Lucia Again at Metropolitan

Mme. Toti dal Monte made what the Europeans would call her "second debut" at the Metropolitan Opera House last evening. She was heard in the same opera as before, namely, "Lucia di Lammermoor," Her associates in the performance were also those who officiated in the previous performance, except that Mr. Danise supplanted Mr. de Luca as the hard hearted brother Enrico Ashton.

At the former presentation of 'Lucia" there was naturally some doubt about how far nervousness might have interfered with the soprano's vocal accomplishments. Last evening she should have been in command of her powers and it seemed as if she was. There was no evidence of nervous anxiety in her singing. She seemed to be sure of herself and to be doing what she intended to do.

The impression was just the same as she made at the first representation. The inequalities of the voice noted at that time were observed again. Mme. Dal Monte's tones in the medium are usually full, round and mellow. The top and bottom of the voice are pinched and white. What the Italians call the "voce Bianca" is common in the upper register, but not in the low. Mme. Tetrazzini had it in the low scale, but her high voice as flute like.

Mme. Dal Monte sang Lucia once more with care and many pauses for the preparation of phrases. This want of the illusion of spontaneity marred her otherwise praiseworthy and musicianly treatment of the famous mad scene, in which she displayed a goodly measure of interpretive intelligence. Her success with the audience was once more of a satisfactory kind. She has come before this public at a fortunate time for her. Few operagoers of the present remember the great Lucias.

Mr. Chamlee was in much better voice than at the first performance of "Lucia." His Edgardo is good and it is always a pleasure to hear a tenor who sings with such excellent tone and manly style. Mr. Danise's Enrico was adequate. Mr. Papi wielded the baton.



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