[Met Tour] CID:95420



La Juive
American Academy of Music, Philadelphia, Pennsylvania, Tue, February 15, 1927




La Juive (47)
J. F. F. Halévy | Eugène Scribe
Rachel
Nanny Larsén-Todsen

Eléazar
Giovanni Martinelli

Princess Eudoxie
Nina Morgana

Prince Léopold
Alfio Tedesco

Cardinal de Brogni
Ezio Pinza

Ruggiero
Millo Picco

Albert
Louis D'Angelo

Herald/Major-domo
Paolo Ananian

Dance
Mollie Friedenthal

Dance
Rita De Leporte

Dance
Giuseppe Bonfiglio


Conductor
Louis Hasselmans







Review 1:

Review signed S. L. L. in the Philadelphia Ledger

'LA JUIVE' HONORS GO TO MARTINELLI

Metropolitan Tenor Gives Finest Philadelphia Performance In Opera at Academy

The Metropolitan Opera Company last evening gave an exceptionally brilliant and well-balanced performance of Halevy's "La Juive." Giovanni Martinelli, who has made the role of Eleazar even more distinctive than Caruso did, mainly through a different characterization, easily carried off the honors.

Mr. Martinelli was in superb voice and sang the music, much of which is really impressive, with remarkable intensity and power. He rose in his greatest vocal height, naturally, in the tremendous dramatic aria in the first scene of the closing act, following the duet with the Cardinal which also was a magnificent bit of vocalization and characterization on the part of both Mr. Martinelli and Mr. Pinza.

Mr. Martinelli's acting was on the same exceedingly high level as his singing, and his characterization of the role was exceedingly convincing, in that he developed it as an elderly Hebrew, who, though nearly broken by oppression, still has much spirit left and is defiant to the end. The entire performance was one of the finest that Mr. Martinelli has ever given in this city. The audience showed its appreciation of this great demonstration of operatic ability by recalling him repeatedly after each act.

Next to Mr. Martinelli, the work of Mr. Pinza as Cardinal Brogni was the most impressive feature. In stature, makeup and dramatic power he strongly resembled Mr. Rothier, who frequently has taken the same role here. Mr. Pinza has a voice of unusual power, which is required in this role, and he apparently has a full appreciation of its dramatic possibilities, which he demonstrated clearly in the great scene at the beginning of the last act - really the climax of the opera except from the standpoint of pageantry and stage settings. His rendition of the great declaration in the first act was very fine.

Nanny Larsen-Todsen was a splendid Rachel, especially dramatically, although there are roles which suit the voice better than that of the unfortunate Juive. She rose to the histrionic possibilities of the role at every point.

The other members of the cast were fully adequate, especially Nina Morgana in the somewhat ungrateful role of the deceived Princess Eudoxia. Her high, clear voice was very effective, especially in ensemble numbers. Alfio Todesco, in the even more ungrateful part of the Prince, had scarcely a voice of sufficient power and brilliancy to be matched against those of Mme. Larsen-Todsen and Messrs. Martinelli and Pinza, and all he had to do from the dramatic angle was constantly to be "the goat." Messrs. Picco, D'Angelo and Ananian were excellent in the minor roles.



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