Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-03-05
GALLI-CURCI WINS -.
..: :-.' .~ A GREAT TRIUMPH
Scores an Overwhelming Success
in Lucia" With Dolci, the
Tenor, a Close Second
LUCIA Di LhMMERMoOR


Opera by Gaetano DoniSettD
tgca f id1nr a. Ams;s Gsc1re e
Edssr Of Rayen.wocd. ..... .Aiesssndro pole
Alice. ee.................... Alma Peterson
conductor' 'cieotontc canpanini
Last night new singer and an old opera
filled the Academy of Music TO the doors for
tho second performance OF the Chicago
Opera Company, where on Monday evening
the same formula reversed worked in just
the reverse fashion. Gali-Curci in Lucia di
Lammermoor,' supported by an unusually
able cast not only filled the house, but hum
dreds were turned away after waiting in vain
until the opera actually began, hoping 70 get
in somehow.
The evening was a distinct triumph FOR
Nine. CALI and. II may be said in pass
ing, for the tenor, Alessandro Dolci, as well
It being the first appearance here OF both OF
these stars Nine. Galli-Curci was called be
fore the curtain after every act. and at the
close OF the famous mad scene was oolisen
to repeat part OF II. besides being recalled
repeatedly when the curtain went down.
Much curiosity had been expressed In Phil
adelpha as TO the ability In opera or TINS
much discussed singer. Seldom have COM
petent critics, both among professional musl.
clans and among the proletariat. disagreed
SO utterly over the merits OF a singer as in
her case. At last she came. she sang and at
least she conquered her house. for few singers
have had a heartier reception than sne oo-
tanned last evening from an audience which,
al the beginning OF the opera showed many
signs of apathy. ..,
As a coloratura singer Nine. Galli-Curcl
has every requirement but one. Her voice
has an enormous range; II does not grow thin
in the upper, register as so many voices OF
tine type Of hers are apt 10. but retains its
color throughout Her technique Is gigantic
and she executes runs, trlls. -skps and all
the other technical requirements OF coora-
tura with an ease and sureness thAt mas
rarely been equaled, let alone excelled, in
this city. Also, she sings in perfect tune and
with equally perfect voice control. Her one
lack is power. II her voice were a little
stronger throughout its entire register she
would unquestionabiy be the greatest colora-
tura soprano within the memory OF the pres
,cnt generation. II not of the past one as we'll
As an actress Madame Galli-Curci is not
quite SO convincing as she is as vocalist
She evidently has not the dramatic feeling
to a very high degree and never rose TO
great histrionic heights even In the famous
mad scene, although II is .cheerfuly admitted
that it is indeed difficult to sing an aria OF
such hideous difficulties as this one and at
tempt to do anything else but keep an eye
on the conductor.
The music OF Lucia" is well known
that more than passing reference to it Is
unnecessary. Madame Galli-Curci sang all
her arias we'll. notably "Rsgnava mel Silen-
zio" and "Quanda rapita in Estasi." as well
as duets with Henry and with. Edgar, but
her main triumph was the Mad Scene, in
which she fairly exceted herself in vocaliza-
tion. Her work in thirds, sixths and varied
intervals with the flute, an instrument Of
fixed pitch. was great feat OF vocal vir-
tuosty and deserved the applause it received.
A close second to Madame Galli-Curci was
Alessandro Dolci, the Italian dramatic tenor
Mr.. Dolci has a beautiful voice OF great
power and sweetness throughout it's whole
register, and, in addition he has a good
stage presence and Is fine actor. AS the
first scene OF the last act is given over to
the soprano. so the closing scene is given up
to the tenor, and so well was it sung and
acted that Mr. Dolci received almost many
curtain calls sat the close OF the opera as
Madame Galli-Curc herself received at the
end of the preceding scene. And they were
deserved. His rendition of the tomb song,
"Tomba degl' avi miei," was a wonderfully
fine piece Of vocalisation ana Of tonal ex-
preston and put the climax on an entire
performance of great merit, both vocaI1y
and dramatically. II is to be regretted that
we shall not hear this fine artist again in
Philadelphia during the stay of the company.
The parts of Henry Ashton, taken by Mr..
Rimini. and Raymond by Mr.. Lazzari, were
well done from every side Both have fine
voices and showed them to good advanta ge
in their many solos and ensembles, besides
acting the parts with taste and discretion.
The famous settet in the second act made
it's usual hit; II is really a much better
piece OF concerted dramatic music than is
generally Acknowledged, and was finely sung.
Mr.. Campanini conducted the opera in per-
son. and, as he always does gave a brilliant
reading of the score.