Metropolitan Opera Archives

GIANNI SCHICCHI {16}
Puccini-Forzano
Gianni Schicchi received three performances this season.

Review 1:

Review of Francis D. Perkins in the New York Tribune

Lucrezia Bori Shares Laurels in Opera Revival

Singer, as Fiora, Role She Had Here in 1914, Again Scores at Metropolitan in 'L'Amore dei Tre Re'

With different principals, including Lucrezia Bori as Fiora, Montemezzi's music drama "L'Amore dei Tre Re" had its second performance of the season at the Metropolitan Opera House yesterday afternoon. Edward Johnson sang Avito, the role in which he had made his Metropolitan debut on November 16, 1922, while the other two hapless Kings were played by singers new here in these parts, Lawrence Tibbett and Pavel Ludikar.

Tullio Serafin again conducted and gave the drama and color of Montemezzi's score its full due. The Benelli-Montmezzi work did not compose all of Mr. Gatti-Casazza's offering for the afternoon; the Metropolitan completed the session with comedy in the season's premiere of Puccini's "Gianni Schicchi."

Miss. Bori, who had introduced the part to the Metropolitan in 1914, again gave us a Fiora convincing to eye, ear and imagination; a performance of marked dramatic effectiveness while admirable for its artistic finish, skill and subtlety, satisfying both considered as a whole and in detail. She was applauded with deserved fervor when her colleagues deftly left her alone before the curtain.

Mr. Johnson had been heard here as Avito with the Chicago Opera before joining the Metropolitan, but this was his first appearance in that role since his Metropolitan debut four years ago - the opera, for that matter, had only been heard three times between then and yesterday. The role again proved well suited to his talents; it is a part convincing not by vocal coups but by a combination of singing and acting. forming an artistic, dramatic whole. Mr. Johnson can offer such a combination and did so - his is not an opulent voice, but he made good use of it; in action he was emotional - at two or three points, a little gesturesome. The general impression of his performance was one of entering into the part, being in the picture, being Avito rather than Mr. So and So wearing Avito's clothes and singing his notes.

Mr. Tibbett performed the part of Manfredo somewhat tentatively at first, singing well, but it seemed, a little cautiously at times, so that a few notes were lost for us beneath the swirling orchestral tides evoked by Mr. Serafin. But he steadily became more at home in the role and, by the third act, did admirable work from the dramatic point of view, effectively emotional, but not overacted. His singing which lost its apparent tentativeness after the first act, seemed well produced throughout, and the performance suggested that Mr. Tibbett should develop into an excellent Manfredo with more experience.

Mr. Ludikar proved very satisfactory as Archibaldo, giving what seemed his best performance so far at the Metropolitan, faring well vocally and singing and acting with emotional effectiveness. His portrayal of the blind lord filled its needed share in the drama, while it was not overwrought.

Mr. Bada, who, like Miss Bori, was in the Metropolitan's 1914 cast, took the parts of Flaminio and an unnamed youth; Mary Bonetti, Louise Lerch and Henriette Wakefield completed the cast. Mr. Serafin, again a major factor in this fine performance, had a round of applause of his own before the third act.

"Gianni Schicchi" is not exactly a congruous companion for "L'Amore " on a double bill, but it pleased with a zestful performance well handled by Mr. De Luca in the title role, Miss Mario and Mr. Tokatyan as the lovers, Mmes. Howard, Guilford and Anthony, Messrs. Didur, Paltrinieri, Gustafson, Reschiglian and Gabor, and Stefan Eisler. Mr. Bellezza conducted. Mr. De Luca added extra diversion by reciting the closing address in English.

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Search by title: L'Amore dei Tre Re, Gianni Schicchi,

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