[Met Concert or Gala] CID:94260

Sunday Night Concert
Metropolitan Opera House, Sun, November 21, 1926

Sunday Night Concert

Metropolitan Opera House
November 21, 1926


Schubert: Rosamunde: Overture

Hérodiade: Vision fugitive
George Cehanovsky

Carmen: Habañera
Merle Alcock

Verdi: Requim Mass: Ingemisco
Max Bloch

Aida: O patria mia
Elda Vettori

The Bartered Bride: Kezal's Aria
Pavel Ludikar

Louise: Depuis le jour
Martha Attwood

Saint-Saëns: Violin Concerto in B Minor
Renée Chemet, violin

Liszt: Les Préludes

Die Meistersinger von Nürnberg: Monologue
Pavel Ludikar

Pagliacci: Ballatella
Nannette Guilford

L'Africaine: O paradiso!
Armand Tokatyan

Pugnani: Praeludium and Allegro
Falla: Nana; Canción; Jota
Sarasate: Zapateado
Renée Chemet, violin
Sanford Schlussel, piano

Brahms: Hungarian Dances

Conductor...............Giuseppe Bamboschek

Review 1:

Review signed M. W. in the Tribune

Three Debutantes of Music Stage Sing in Operatic Concert

Elda Vettori, Martha Attwood and Pavel Ludikar Appear at Metropolitan Without the Usual Trappings

Last evening's concert at the Metropolitan Opera house presented an opportunity to consider three recent debutantes without benefit of costume and make-up.

Among the soloists on the first part of the program was Elda Vettori, who, only twenty-four hours before, had ventured for the first time before these footlights as Santuzza in "Cavalleria Rusticana." Now heard as "herself," she only emphasized and confirmed first impressions. Personal charm, dramatic fervor and a smooth, sure , modulated soprano, combing both clarity and warmth in its texture were her assets. She sang her aria, "O cieli azzuri," from "Aida" with a somewhat diffident attack, corrected as soon as she succeeded in forgetting the sea of faces before her and mentally establishing herself on the banks of the Nile. The music lies well for her voice and showed up less frequently than on the previous occasion, an intrusive hint of spread tone which was observed with regret somewhere between the A and D of her scale. In spite of her youth, Miss Vettori is artistically mature, and it would seem that many rôles of the repertoire will lie within her power to illuminate.

Martha Attwood, the other soprano who has been heard but once before (in the role of Liu at the "Turandot" premiere), followed Miss Vettori, with the aria of Louise, "Depuis le jour," a selection which seems first favorite of the concert platform this season. Miss Attwood has a more pleasing and distinctive stage presence than was observable under the sad habiliments of the slave girl, but her lyrical emotions cross the footlights as wry and peevish rather than passionate. The voice itself was steadier last night, and has its points of brilliance. It is, however, light without sheen, brittle and thin as broken glass; and there were passages so badly phrased that breath refused to support her and departed leaving her flat.

Pavel Ludikar, who also appeared first in "Turandot," sang the aria of Kezal from Smetana's "Bartered Bride" in the original Czech, and sang it with tonal rectitude in his small-caliber bass but utterly without life or humor.

Other artists on the company appearing on the program were Nannette Guilford, soprano; Merle Alcock, contralto; Max Bloch and Armand Tokatyan, tenors; and George Cehanovsky, baritone. Mr. Bamboschek conducted and Mlle. Renée Chemet, French violinist, played with infinite perfection of technique and somewhat diminished tone the Saint-Saens Concerto in B minor with orchestra and a group of shorter pieces accompanied on the piano by Sanford Schlussel.

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