[Met Tour] CID:90290



Falstaff
Auditorium, Atlanta, Georgia, Tue, April 21, 1925




Falstaff (41)
Giuseppe Verdi | Arrigo Boito
Sir John Falstaff
Antonio Scotti

Alice Ford
Lucrezia Bori

Ford
Lawrence Tibbett

Dame Quickly
Marion Telva

Nannetta
Frances Alda

Fenton
Armand Tokatyan

Meg Page
Kathleen Howard

Dr. Cajus
Angelo Badà

Bardolfo
Giordano Paltrinieri

Pistola
Adamo Didur


Conductor
Tullio Serafin







Review 1:

Review in the Atlanta Constitution

Scotti, Old Favorite Here, Receives Hearty Welcome

The pleasurable expectation of a critical Atlanta audience was entirely satisfied with the interpretation of "Falstaff" as given Tuesday evening by the Metropolitan Opera Company. This last work of the great Italian master Verdi, with its one long, merry tune, rather coincided with gay, light-hearted spirit of a second night opera gathering, the gracious folly and fantasy of the masterpiece being reflected by the enthusiastic welcome and appreciation with which it was received.

The story of this work, the revival of which in the Metropolitan repertoire was designed especially for the glory of that old favorite, Antonio Scotti, is a clever condensation of Shakespeare's "Merry Wives of Windsor" in which "All the world's a farce," is borne out by the blithe, sunny mood of the opera.

Tibbett's Triumph

Scotti, in the title role, again shared honors with the youthful American baritone, Lawrence Tibbett, as he did on that sensational evening of the first performance of the season in New York, when the Metropolitan audience demanded that a pause be made while they rejoiced that a new star had arisen. Taking the part of Ford in last night's cast, his magnetic and authoritative performance held the audience completely captive and by reason of the fact that he is an all-American product, American born and American trained, Atlanta took a patriotic pride in proclaiming the triumph of this young westerner.

Lovely Lucrezia Bori

Admirably supported in feminine roles by such celebrated voices as possessed by lovely Lucrezia Bori, Frances Alda and Kathleen Howard, the production of 'Falstaff" could not fail to please. The familiarity of the charming story, the sparkling eloquence of the orchestra, the witty dialogues, the superb conducting of Tullio Serafin, all in addition to the appeal of master voices, made the opera one of the most enjoyable of the week's program, as witnessed by its enthusiastic reception.

The incidental dances by the celebrated corps de ballet of the Metropolitan company were an added feature of brilliance and interest, introducing entr'acts a charming group of artistic interpretations. .



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