[Met Tour] CID:90380



Falstaff
Public Auditorium, Cleveland, Ohio, Thu, April 30, 1925




Falstaff (42)
Giuseppe Verdi | Arrigo Boito
Sir John Falstaff
Antonio Scotti

Alice Ford
Lucrezia Bori

Ford
Lawrence Tibbett

Dame Quickly
Marion Telva

Nannetta
Queena Mario

Fenton
Armand Tokatyan

Meg Page
Kathleen Howard

Dr. Cajus
Angelo Badà

Bardolfo
Giordano Paltrinieri

Pistola
Adamo Didur


Conductor
Tullio Serafin







Review 1:

Review of James H. Rodgers in the Cleveland Plain Dealer

'FALSTAFF' PROVES SCOTTI A COMEDIAN

Bori and Mario, Two Sopranos of Same Excellence, Also Win Honors in Verdi's Opera

Verdi's "Falstaff" presented with astonishing dexterity, with rare elements of song, brimful of absurd pranks and Shakespearian slap-stick comedy and rough housing was a hilarious and altogether delightful episode in the current Metropolitan season at Public Hall, and last night's audience acclaimed it joyously and vigorously.

That the same pen that set to paper the score of "Il Trovatore" should have written it is no more extraordinary that that Antonio Scotti, whom we know chiefly as a deep-dyed stage villain should have proved to be the most unctuous and fatuous of Sir Johns. Strange, too, to see Mr. Scotti so portly of habit. But, withal, here was as fine a piece of acting as we have witnessed in many a day. And it was a pleasure to notice that Mr. Scotti was vocally in great form. Indeed, we have never heard him sing better than he sang last night. There was a lot of power in his voice and a lot of quality, too.

And what a cast it was! No wonder the lively dames of Windsor turned the head of poor old Sir John. There were two lyric sopranos, Lucrezia Bori and Queena Mario. And Miss Bori was a fascinating Mistress Ford and Miss Mario, an exquisite Anne. Kathleen Howard brought charm and vivacity to the part of Mistress Page, and Marion Telva was a busy and rich-voiced Dame Quickly. Quite a quartet. And these singers did vouchsafe us one little ensemble number, the most fetching quartet imaginable.

Lawrence Tibbett was the Ford and his mellow, vibrant baritone employed with unfailing spirit and skill, carried all before him. That excellent tenor Armand Tokatyan was the Fenton. He sang as he always does with irreproachable taste with pleasing tone. There was more acting than singing in the roles of Dr. Cajus, Bardolfo and Pistola, portrayed respectively by Angelo Bada, Giordano Paltrinieri and Adamo Didur, and it was uncommonly adroit and diverting comedy that they presented. The action was taken throughout at a whirlwind pace and every role, without exception, was cleverly done, with Mr. Scotti as the star performer as was but in the order of things.

To revert for a moment to the singing, we have on many occasions expressed our admiration of the beautiful art of both Miss Bori and Miss Mario. Both of them sing enchantingly. Where are there two lyric sopranos to equal them? But the same, justly apportion individual praise when they both appear in the same opera? It seems a difficult matter. It may be remembered that the bestowing of an apple gave a certain Paris a lot of trouble.

There was a hearty round of applause every time Tullio Serafin came to the conductor's desk. A masterful and persuasive leader, as Clevelanders have discovered. There was splendid stage management, and the scenic investiture left nothing to be desired. The garden scene in the first act was a dream of beauty, enhanced by the captivating costumes worn by the sirens of Windsor.



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