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Went over to the Metropolitan to hear Gigli sing his second act aria, as Count Loris, in this opera by Giordano, and up to the finish of this aria I was willing to take back what I said in Nevada Van Der Veer's

Review 2:

Review , about superlative polish not being found in opera. Gigli was singing as he has rarely sung before, although this role is not suited to his voice - it being too dramatic. But the liquid warmth seemed fairly to pour out of his mouth and over the heads of his hearers. Then he slapped me in the face with his forte finish.

Understand, I am not advocating taking liberties with Giordano's music, although, heavens know, he himself took enough liberties with other composers in order to write this score. But if Gigli had continued his lovely pianissimo just before the last few bars of that aria, and had finished it softer still, that audience at the Met last night would be applauding yet. In this particular instance it would have been perfectly legitimate and - with all due respect to the musical compiler of "Fedora" - a darned sight more artistic.

Jeritza, in the title role, takes cyanide of potassium in this opera, you know. That is, in the last act, she swallows a poison that is supposed to work that way. Upon drinking it she stand up, stiffens, and is dead before she falls. Quick - like a fish! Her acting last night was as marvelous as Madame Van Der Veer's singing; How that great artist, Jeritza, can act! Jeritza, the Golden. The only trouble with that poison scene is that it takes three minutes to work when - so I am told - cyanide wastes no time. But an aria is necessary there, so the poison becomes poetic, with license for operatic purposes.

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