[Met Tour] CID:96360



La Traviata
Washington Auditorium, Washington, D.C., Fri, April 22, 1927




La Traviata (145)
Giuseppe Verdi | Francesco Maria Piave
Violetta
Amelita Galli-Curci

Alfredo
Beniamino Gigli

Germont
Giuseppe De Luca

Flora
Minnie Egener

Gastone
Angelo Badà

Baron Douphol
Millo Picco

Marquis D'Obigny
Vincenzo Reschiglian

Dr. Grenvil
Paolo Ananian

Annina
Grace Anthony

Dance
Rita De Leporte


Conductor
Tullio Serafin







Review 1:

Review in a Washington newspaper

'TRAVIATA' IS GIVEN NOTABLE RENDITION

Galli-Curci, Gigli and de Luca Star in First Opera of Metropolitan Here

The most famous opera company in the world, the Metropolitan Grand Opera Company of New York City, came to Washington and opened a short "season" of four operas last night in a spectacular and successful fashion at the Washington Auditorium. With President Machado of Cuba and his daughter Senora de Obregon, occupying a stage box that was draped in the Cuban flag, providing the leading social interest in the audience, and Amelita Galli-Curci, Beniamino Gigli and Giuseppe de Luca leading a real Metropolitan cast on the other side of the curtain, a spirit of keen enthusiasm and enjoyment pervaded the atmosphere. This was the first time in 19 years that the Metropolitan Opera Company has given a performance in the National Capital and from the remarks heard all about last night and the congestion of the many autos in the traffic to carry people to the building and away after the performance, it is not likely to be so long a time before the next "season" by this company.

'Traviata' Is Admirable

The production of Verdi's "La Traviata," which was the opera [starting] the series here, was highly admirable from every point of view, showing complete finish in preparation, detail of setting and costume, and orchestral unity in presenting the score, that only so well financed an organization as the "Met" could possibly afford. Aside from the personalities and singing of the three principals, the remarkable coordination, volume and sureness of the chorus in all ensemble numbers were things at which to marvel. Also, the members of the chorus showed fine training in stage presence and the wearing of their costumes. Similarly the orchestra members under the masterly direction of Tullio Serafin provided excellent background, only once or twice overpowering ever so slightly the light voice of the prima donna in passages where she seemed to be reserving her volume to emphasize her marvelous breath control, one of her most individual characteristics in singing. The ballet, too, was presented with spirit and facile command of graceful traditional ballet steps.

Perhaps one reason that "La Traviata" was so warmly received was the fact that it is a beloved and familiar Verdi work with plenty of arias for the leading singers and an always lilting melodious score. Amelita Galli-Curci, as Violetta, (taken from Dumas' heroine of "The Lady of the Camellias") was always the gracious prima donna. She takes many liberties with the traditional interpretation, being distinctly individual in her presentation of the role. Her flute-like rounded tones, with the freedom of a bird's notes and the complete artistry in production that only persistent, intelligent training can provide, were absolutely at their best last night with a sureness of intonation that was admirable. Especially colorful was the pathos of the "Farewell" song. She sang the aria "Ah, fors e lui" with her customary original phrasing and the same was true of the "Sempre libera." Her duet with De Luca, "Ditte alla giovine" was one of the most beautiful vocal episodes of the entire opera. Mme. Galli-Curci also did the death scene unusually beautifully. She wore fascinating costumes throughout the work, also done individually and not conforming to the traditions.

Gigli in Good Voice

The hero, Alfredo, a rather ungrateful role from a character point of view, but with wonderful vocal opportunities, was sung with convincing style by Signor Gigli. He seemed in good voice and was most fervent in his acting. Perhaps the most impressive of all his arias was the "Dei miei bollenti spiriti." The duet of the first act was also well done.

Quite the ovation of the evening, with prolonged applause and shouts of "bravo" from several parts of the house, however, was given to Giuseppe de Luca, other than whom it would be difficult to imagine a more perfect Giorgio Germont - the role of the father of the hero. Signor de Luca with his mellow, rounded singing and excellent phrasing of the solo in the second act, held up the performance for several succeeding minutes while the audience awarded him vigorous applause. Throughout the opera he was consistent and always in character, vocally and histrionically.

Of the smaller roles those sung by Grace Anthony as Annina and the doctor by Paolo Ananian seemed particularly well done, although each smaller part was admirably handled. Others in the cast were Angelo Bada, Millo Picco and Vincenzo Reschiglian.

The settings of the four different scenes all contributed to giving reality and beauty to the picture as a whole. Very elaborate scenery was used and well painted back-drops, which, although altered somewhat to suit the very small stage of the auditorium, seemed to have survived the ordeal much better than those brought there a year ago by the Chicago Grand Opera Company.



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