The Washington times., 1927-04-23
METROPOLITAN'S OPENING
A TRIUMPH IN "TRAVIATA"

A TRIUMPH IN "TRAVIATA"
The Metropolitan Grand Opera
again! The glow that only grand
opera at its best may give, returned
to the National Capital last evening
in the most gala occasion the city
has ever staged" with flutter and
thrill of a huge audience of at least
5000 people bejeYeled and chiffoned
to add luster to a well.nigh flawless
performances on the stage Of the
Washington Auditorium.
A superb rendition 1t was, of
Verdi's entieing la Traviata," with
Galli-C urci, Gigli, De Luca. With
Tullio Serafin recreating the score
beneath magic hand and with @
rare orchestra. With that harmony
and golden Inellowness that made O
perfect whole Of ensemble, chorus.
dainty ballet, and setting. Like
Peer Gynt, we pinched ourselves to
see II 1t were true, If 1t had really
come to us, at last.
The charming waltz strains set
the lure of Italia's imperishable
melodies before. US, guided by Sera-
fin, whose delicacy Of touch upon
orchestra or ensemble brought ef-
feet after effect of enhancing mu-
sic. that built up to this momentous
tragedy of Dumas Camille" until
the orchestra anticipated it's grim
fatality in music that pealed out q
mighty requiem, where a lesser per.
son does not penetrate.
y \
It was to CALI Curci's "Traviata"
that the vast audience looked. 1t Ia
perhaps the greatest Of coloratura
roles. And as Violetta, Nine. CALI
Curci came as an artist of far more
than vocal attainment. The sub.
tlety OF portrayal was q real part
OF her dulcet runs and thrills, in
tones that are moonbeams, not
sparkling diamonds, but those ''dove.
tones"that so amazed her hearers
when GalH-Curci first came to US.
For 1t is such quiet singing. Yet
there is not a spoken tone Of her
entire role that does not penetrate
the vast hall with dramatic mean.
ing. At the opening, the "Ah, fors'
Q lui" almost eVaded her, her
breath seemed not equal to it's
suave exactions, it long sustained
moments. But the waltz song that
followed came through in enttcing
roulade, and as the drama pro.
crossed the sheer loneliness Of her
singing adorned her clear-cut florid
passages with a charm that de.
lights. Until, in the last act, the
CALI Curci sang a death scene such
as have never heard.
Gigli Without the G please was
an Alfredo Of vocal and dramatic
heights. The voice of Gigli holds
lyric lovellness and he sings with
fineness in artistic taste. But how
ne rose in the big moments Of the
drama. His voice rang out large
and golden, in the spirit OF ItaIy's
| glowing song and in the ensemble
that follows the gaming scene, his
"parlando," crisp and forceful, was
so stirring 1t nlirrored the perfec.
ton OF an instrument in perfect
string quartet.
Such effects were master-works Of
Serafins control.
go
But the ovation of the evening
came most spontaneously to De
Luca as the father Of Alfredo. They
shouted Bravo, bravo, after his
first aria, his appeal to Violetta to
release her lover, Here was Q re.
strained sympathy, a dramatic JUS
tice OF refinement with voice held
to beauty rather than bravado, that
sank as deeply as perfect dra,
matte portrait.
The beautiful singing Of Grace
Anthony, as Annina, Violetta's
faithful companion In her dying
hours. was also notable, showing
how the younger generation is full.
filling the traditions that make the
Metropolitan the peer Of singing or
CARNATIONS. And we had our friend
Milo Picco as the Baron and An.
anian as the Doctor to complete the
cast, with Minnie Egener q hand.
some Flora, and also Angelo Bada
and RsschiSlian.