Metropolitan Opera Archives

To introduce the young Italian tenor, Nino Martini, a special matinee was given on Thursday, Dec. 28, of "Rigoletto," with the tenor in the role of Mantua's wicked duke. There was a capacity audience, in which enthusiasts behind the standing rail were more than numerous, sounds of bravo and bravissimo issuing thence with a frequency that suggested many things to many people.

Mr. Martini had much to recommend him in his initial performance, and it may be recorded that he achieved his Metropolitan debut with considerable credit. He has a voice of great clarity, well suited to the music of Verdi's much loved opera and a presence both vital and graceful. His acting was along conventional lines, to be sure, but there was something winning about his manner on the stage that attracted his listeners. He was recalled repeatedly and had several solo calls before the big curtain. Many famous tenors have sung this role in the Metropolitan. Thus, newcomers in it are always heard, perhaps subconsciously, in comparison with one's memory of the best of them. If Mr. Martini did not measure up to the greatest, he made an impression that promises well for the future. He is a young man, whose development ought to be noteworthy.

Lily Pons as Gilda had an ovation after her "Caro Nome." She was an appealing figure in her sympathetic portrayal of one of her best roles. Gladys Swarthout was an excellent Maddelena, Ezio Pinza an impressive Sparafucile. Giuseppe De Luca in the title role repeated what is undoubtedly one of the finest of personations of the hunch-backed jester. Although at times his voice was not as liquid as it has been in other seasons, his acting more than made up for it. Mmes. Falco, Vettori and Tomisani and Messrs. Gandolfi, Picco, Paltrinieri and Ananian completed the cast. Vincenzo Bellezza conducted satisfactorily.

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