[Met Performance] CID:91620



Martha
Metropolitan Opera House, Sat, December 19, 1925 Matinee



In Italian



Martha (84)
Friedrich von Flotow | Friedrich Wilhelm Riese
Lady Harriet
Frances Alda

Lionel
Beniamino Gigli

Nancy
Kathleen Howard

Plunkett
Giuseppe De Luca

Sir Tristram
Pompilio Malatesta

Sheriff
Louis D'Angelo

Maid
Flora Cingolani

Maid
Lavinia Puglioli

Maid
Agnes Moore

Servant
Vincenzo Reschiglian


Conductor
Gennaro Papi







Review 1:

Review signed D. B. in Musical America

The First 'Marta'

A contagious spirit of bonhomie pervaded the season's first "Marta" on Saturday afternoon, Dec. 19. With Gennaro Papi conducting, and with Frances Alda and Beniamino Gigli in their accustomed places as the lovers who, aided by a lingering rose, triumphed over all misunderstandings, a successful performance was assured. Add to these advantages the presence of Kathleen Howard and Giuseppe De Luca as the supplementary young people, and Pompilio Malatesta as Sir Tristan, and it will be seen that nothing was lacking to give both action and music the necessary filip and charm.

All these artists were as happily concerned in each other's success as in their own personal share of the production. Gracious little tributes were paid, by one to another, when steady applause brought the participants before the curtain again and again, and the general feeling obviously was that of a congenial family party.

Mme. Alda's Marta had its wonted charm, both of vocalization and person. Mr. Gigli sang Lionel's measures as only an artist of his affiliations and temperament can sing them, producing at all times a luscious quality of tone. Miss Howard was a vivacious Nancy, and Mr. De Luca's Plunkett was in every sense admirable. As comedians, Mr. Malatesta and Louis D'Angelo, the latter appearing as the Sheriff were able contributors to the brightness of the performance, as were Vincenzo Reschiglian, Lavinia Puglioli and Flora Cingolani, and Agnes Moore in the rôles of the Servant and the Three Maids. The melodic beauty of the music was thoroughly brought out by Mr. Papi, who used the Overture as an interlude between the first and second acts.



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