Metropolitan Opera Archives

"Cavalleria Rusticana" and "Pagliacci," which have been operatically estranged here of late, were reunited by the Metropolitan Opera Company at the Academy of Music last evening in the rousing old double bill of tradition. In spite of their familiarity, these hot-blooded little music plays wear well. A public of highbrows, middlebrows, lowbrows and intermediate types is unified for once in its enthusiasm for Mascangi's setting of Verga's tense Sicilian tale and for Leoncavallo's Calabrian opera of peasants and clowns, echoing the colorful art of the old Italian "Commedia Dell'Arte."

The classic order of presentation introduced 'Cavalleria" first, with Maria Jeritza, divested this time of her trains and jeweled splendors, cast in the role of the passionate and hapless Santuzza. Vocally the Viennese prima donna easily adjusted herself to the new element. She poured forth a thrilling volume of tone and rose to all the rich opportunities for the display of dramatic lyricism.

Jeritza Shows Superb Artistry

From the purely theatrical standpoint she was in fine fettle, also, portraying the part with vigor and intensity and disdaining no footlight artifice calculated to deepen her performance. Her swoons and fainting fits were almost acrobatic, as was certainly her roll down the church steps, undertaken with a kind of gusto.

And with all this driving energy which unquestionably enlivened the production and seemed to win much favor. Mme. Jeritza, who is racially and temperamentally alien to Santuzza's folk, no more than scratched the surface of Sicilian character as conceived in this musical drama. Hers was a wholly objective, though a skillful, performance, and at times she somewhat suggested a Nordic vacationist masquerading in the quaint garb of a Mediterranean island. Unintentionally, of course, she was a rather urban Santuzza.

New American Tenor

Of Frederick Jagel, a new American tenor, making his first appearance here as Turiddu, it may be said that if he had not so closely resembled Robert Louis Stevenson in his famous velvet smoking jacket, it might have been easier to concentrate on his singing. He would seem, however, to be a promising acquisition to the Metropolitan's ranks, and he sang and acted with taste and intelligence.

Ina Bourskaya was a satisfactory Lola, Mario Basiola, a good Alfio and Philine Falco was the usual disconcerting Mamma Lucia, much too young in appearance and manner to be the hero's mother.

The chorus, which plays such an inspiring part in "Cavalleria," was in glorious voice and contributed greatly to the firmness and cohesion of the performance. Mr. Bellezza directed with spirit and reburnished the Intermezzo in his fine reading. Mme. Jeritza received a generous personal ovation after the curtain fell.

"Pagliacci" Only Fair

The "Pagliacci" was perhaps, not quite so well done as its predecessor, for Mr. Martinelli, the Canio, was in surprisingly uncertain voice at the outset. He recovered to a considerable extent in the "Lament," which brought the customary plaudits. The voice of Queena Mario, who was the Nedda, is somewhat too light for this part, but her characterization was fairly well keyed, improving decidedly in the play scene.

There was a completely reassuring Tonio in that sterling artist, Giuseppe de Luca, who avoided the half-witted extravagances in which this clown is sometimes painted. His "Prologue" was a masterly exhibition of tonal art. Lawrence Tibbett, ever dependable, was an admirable Silvio and Angelo Bada was adequate as Beppe. For some unexplained reason the lovely orchestral intermezzo between first and second acts was omitted.

The settings, for once in these operas, were convincing, presenting a plausible aspect of Sicilian mountain country in the one instance and lightly suggested the milder landscape of Calabria in the other.

Search by season: 1927-28

Search by title: Cavalleria Rusticana, Pagliacci,

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