Metropolitan Opera Archives

Another reminder of Verdi's early ventures into the operatic world as a composer of operas - of the days when he was regarded as one of the prominent musical figures of his day - was given at the Lyric last evening as the third production of the Metropolitan Opera Company's local season of opera.The word was "Rigoletto," an opera which, for present-day musicians, is unspeakably tiresome, not to say tedious.

It has been authoritatively stated that Baltimore music lovers were desirous of having some of the famous stars of the Metropolitan Company in opera. Many of whom have been heard here during the present season in recital. With that statement one is in perfect accord. The question arises, however, as to whether the repertoires of these various stars is so limited that they are unable to appear in any opera of a more modern tendency. But knowing that, without exceptions, their acquaintance with the operatic field is extensive, and that they are all capable of giving highly satisfactory performances of operas of later dates, one wonders why Baltimoreans are forced to listed to these early Victorian creations. But, apart from the antiquity of the opera and the familiarity with its every melody, a large amount of interest in the production was aroused, chiefly on account of the excellent vocal work of the singers.

Gilda, the character upon whom the interest of the opera centers, was taken by Galli-Curci. The artist is well-known here as a concert singer, but the field in which she has gained her reputation is that of opera. There was a time when her voice was a source of great attraction and her coloratura singing almost faultless. But last evening she gave but slight evidence of her former ability, either in extensive range or in great flexibility. She certainly did not show any superabundance of energy, but appeared to do her best to save her voice and was exceedingly careful in using it to its full extent. The most important vocal part of the role is the "Caro nome" in the first act. Her singing of that scene was sufficiently interesting to attract hearty applause, but there was a lack of brilliancy about the bravura work that seemed to indicate it as being almost beyond her powers today.

Giuseppe De Luca, in the title role, gave a glorious example of good and attractive singing, together with splendid, clever histrionic action. Very effective was his part of the duets with Gilda in the early stages of the opera. Into this duet he infused a considerable amount of temperament and warmth. But his great opportunity came in the latter part of the second act with the intensely dramatic "Cortigiani vil razza dannatia." Here the singer emphasized every phase of emotion - the furor of rage and the tender pleading mood - and presented one of the most engaging numbers of the entire opera.

Beniamino Gigli sang the part of The Duke. The vocal art appeared to be stronger feature with him than the histrionic art, the role making a slighter demand for acting than singing. Nevertheless, he gave a good impersonation of the character. But his voice was the chief attraction. And a really splendid organ it is - clear, pure, warmth of quality, of large volume and range and absolutely under control in all registers. While the artist gave a strong and effective interpretation of the role throughout, he reserved himself for "La donna e mobile," which he sang in a light-hearted, gay manner, according to it all those attributes intended by Verdi.

The characters of Sparafucile, Maddelena and Monterone, although minor roles, were well filled and the still smaller parts were effectively presented. The scenery in the first set was splendidly conceived and the orchestra, under Vincenzo Bellezza, afforded excellent support.

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