Metropolitan Opera Signed 1925 Program Of Falstaff - La Juive On Verso. - (2435)Enlarge Image Metropolitan Opera Signed 1925 Program Of Falstaff - La Juive On Verso. - (2435)Metropolitan Opera Signed 1925 Program Of Falstaff - La Juive On Verso. - (2436)

METROPOLITAN OPERA SIGNED 1925 PROGRAM OF FALSTAFF

La Juive On Verso.

January 2, 1925. 13.5" h x 10" w. Both programs laid down on black album leaf, slightly soiled on verso, otherwise very good condition.
A fabulous, possibly unique souvenir of one of the greatest breakthrough performances in the history of the Met – the night baritone Lawrence Tibbett literally stopped the show with his sensational singing of Ford’s aria in a new production of Verdi’s Falstaff. The entire cast, as well as conductor Tullio Serafin, signed this program centerfold from the performance. In addition to Tibbett, the golden-age cast includes Antonio Scotti (Falstaff), Beniamino Gigli (Fenton), Lucrezia Bori (Mistress Ford), Frances Alda (Nannetta), Marion Telva (Dam Quickly), Kathleen Howard (Mistress Page), Angelo Bada (Caius), Giordano Paltrinieri (Bardolfo) and Adamo Didur (Pistola). Olin Downes’s rave review the next day in the New York Times carried these headlines: “AMERICAN BARITONE STIRS OPERA HOUSE?/?Unprecedented Scene When Lawrence Tibbett Fails to Realize He's Made a Hit /?Gets Roars of Applause?/?"Falstaff" Audience Demands His Appearance After His Bow With Scotti, Singing Title Role”.On the verso is a program centerfold from the Met’s Dec. 12, 1924, performance of Halèvy’s La Juive – the first of this opera at the Met since Enrico Caruso’s dramatic final performance there four years earlier. Conductor Louis Hasselmans and the entire cast signed the page – Florence Easton (Rachel), Giovanni Martinelli (Eleazar), Leon Rothier (Cardinal Brogni), Charlotte Ryan (Princess Eudoxia), Ralph Errolle (Leopold) and, in featured roles, Arnold Gabor, Louis D’Angelo and James Wolfe. In reviewing this performance, the critic for Musical America hailed Martinelli’s assumption of Caruso’s valedictory role, noting that the tenor “met some of the more strenuous exactions of the music with more of certitude than Caruso.” He also noted that “the plaudits for Martinelli after the third act lament were as thunderous as those given Caruso and not in many seasons has he been called so many times before the curtain.”
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