[Met Performance] CID:94790



Turandot
Metropolitan Opera House, Thu, December 30, 1926




Turandot (6)
Giacomo Puccini | Giuseppe Adami/Renato Simoni
Turandot
Maria Jeritza

Calàf
Giacomo Lauri-Volpi

Liù
Martha Attwood

Timur
Pavel Ludikar

Ping
Giuseppe De Luca

Pang
Angelo Badà

Pong
Alfio Tedesco

Emperor Altoum
Max Altglass

Mandarin
George Cehanovsky

Maid
Louise Lerch

Maid
Dorothea Flexer


Conductor
Tullio Serafin







Review 1:

Review signed M. W. in the New York Tribune

Jeritza Scores Triumph in Puccini's 'Turandot'

Entire Company, Including Serafin Conducting, Electrifies Audience at Metropolitan

An enormous and electrically responsive audience at the Metropolitan last night heard the fifth performance of Puccini's "Turandot," with the original cast headed by Maria Jeritza. The performance itself approximated the best hearing which the work has had.

Everyone was on tiptoe; the profuse vitality and excitement of the score communicated itself to all the participants with gratifying result. Mme. Jeritza, commanding vast reserves of tonal splendor and physical magnificence, strode though her glamorous role, mistress of the stage. Mr. Lauri-Volpi, singing better and better as this opera piles up the score, was at his best last evening. Ping, Pang and Pong, in the hands of Messrs. De Luca, Bada and Tedesco, were marvels of animation; Martha Attwood softened the edge of her Liu's inadequacies and gave a sympathetic reading of the music; lesser parts profited by the efforts of Messrs. Altglass, Cehanovsky and Ludikar, Mmes. Lerch and Flexer. Mr. Serafin conducted as if this was his single chance to show what he and Puccini were worth in the artistic world.

And as a fitting climax to all this beneficence a black and white feline condescended to take a nonchalant but effective part in the last act. Having put everyone in an ebullient humor Signor Gatto (not Gatti; he is never so indiscreet) withdrew under the platform beneath the silver feet of Jeritza, who from then on mingled her histrionic vituperations with a very human inclination to mirth. Could anything be more propitious, from a theatrical point of view?



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