Hall of song: The 'Met,' 1883-1966; 1921 Through 1924

The following program was produced for national educational radio under a grant from the National Home Library Foundation by W. B U R Boston. Boston University radio presents Hall of song the story of the Metropolitan Opera from 1893 to 1966 was. The world. War. Work for. Your hosts are miles past indie music critic in the New York World. Journal Tribune. And noton cross.

Getting the Metropolitan's 1921 season underway. Musta been one of the most trying experiences in getting his odds his whole career as general manager for 16 seasons the center of attraction on opening nights had been Enrico Caruso. The opera was selected for the occasion had almost invariably been showcases for the talent of the company's leading tenor. Now Gotti was faced not only with an opening night without Caruso but an entire season and still more seasons after that. A financial crisis for this year had been avoided because subscriptions had been sold at the end of the previous season before Caruso had died. Remarkably enough they had actually been an increase in subscriptions. But what was to happen after this Godey's plan of action was to present an almost endless procession of new singers at the Metropolitan

during the seasons immediately following Caruso's death. It is amazing to see how many artists he felt were necessary to detract from the loss of one while a number of these thing is it would never have been missed at the Metropolitan or any other opera house. There were more than balanced by the truly first rank artists who made an impressive contribution to the Metropolitan history. The first to arrive was Emilie de Gallic who made her debut in the Traviata that open the one thousand twenty one season. Gallacher It is fine characterization of Violetta probably did much to help the audience

forget that it was really not Caruso who was singing the alfredo that night. Five days later another glorious Soprano filled the Metropolitan. As Maria Jarrett made her debut in Eric Conn goals they totally stopped. Henderson commented in the Herald that she flooded the auditorium with glittering tone and the new opera was generally well received also. Sure it is real triumph of the season however. Came when she sang Tosca. You're.

Hearing. When Maria Jarrett is saying that Ari on the night of December 1st 1921 she did so while lying prone on the stage. No Soprano would attempt this feat before and none has attempted it at the Met since

Deems Taylor quipped. She scoped to Congo and got it because that added to the launch of the performance by declaring that Jared's ovation was the greatest he had ever heard in the theater in all the furore. The debut of Arellano Brodie Lee as cover Adele say went all but completely unnoticed soon after this fade out Chami up and returned to the Metropolitan of Boris Godunov. This time he received a much more enthusiastic reception than he had during the first visit to New York in 1907. On January 19 down in Baton made his debut as Figaro in the Barber of Seville he was highly praised for his great facility last visit the unction and collar all of these qualities are vividly demonstrated in this recording he made of the great aria from his debut role Largo al factotum. Yes.

You know I don't want to be yet I mean you know I don't I don't. You.

Don't know when you. No no no no no no no no my merry way you know. You know you go you go go go go go go. Go Os. You all. Thank you OK. No not the

only. One. Among the Last Alliance to make their debuts during the one thousand twenty one season where George Mader Angeles time you have on Darlie the filo and manual Salazar in the midst of these many arrivals at the Metropolitan. One notable artist made her exit. Geraldine Ferraro announced her retirement on January 30th. Stage Door gossips suggested that this decision had been made in the light of not yet it says growing popularity. But those who are better informed

knew that she had long planned to leave the stage at 40. Hysteria mounted as for our saying all her favorite roles for the last time during the final months of the season and near pandemonium broke out when the afternoon of her very last appearance arrived. The operator was Zaza one of the most popular. Banners hung everywhere inside the house balloons were thrown in the air and the jelly flappers presented their queen with a crown and scepter jelly flapper was opera's contribution to the vocabulary of the 20s. What is a jelly flapper. I asked critic. WJ Henderson who coined the term simply a girl about the flapper age who has created in her own half baked mind a goddess which she names. Geraldine Ferraro. When the opera was over the prima donna came before the curtain to address the cheering audience. Has George called her and

stopped crying. She asked. And then she continued proudly. I don't want a tear in this house. I am leaving this institution because I want to go there was to be no thought of a comeback and so in her dressing room she gave away all her costumes and props to her loyal admirers. And then the diva in an opening touring car led a grand parade up Broadway and away from opera for ever having demonstrated that opera at the Metropolitan was possible and indeed profitable even without Caruso got because that contract was renewed until May 1996. In the one thousand twenty two season the general manager continued to pack the roster with Manu Singh is the first to arrive was Edward Johnson. In 13 years Johnson himself was to become the Metropolitan's impresario but for the moment he made his mark at the Opera House as a fine tenor with something more than a voice. One of his most popular roles was that of Dick Johnson

in The Girl of the Golden West. God was I am. Sure he was.

You. Cared. A I was. You. Was. Bigger. The gradual reinstatement of German opera brought with it some more fine new sing is such as

Kurt Tucker C-grade only again. Michael Bohn and Barbara Kim and Delia Rinehart on November 22nd. A soprano who was equally at home in the German and Italian repertory made her debut as aïda. Her name was Elizabeth Redbird. It was a little.

Bit A. Little. Bit of. Goodness. Little. Did little bit. At the beginning athlete. Yea the bullet

to the leg. Yes. Yes. Another name was added to the ranks of a town in town is on January 26 1923

when Giacomo Laura Balbi made his first metropolitan appearance as the Duke in Rigoletto. It was. You know not that it really was. Was he.

Was was. One. Was. Was was.

Was was. In February of 1923 and all German company headed by a LEO black and white America began a season at the Manhattan Opera House to a large degree this ensemble filled a Wagnerian vacuum at the Metropolitan and their performances met with such success that they were booked for an extended engagement at the Lexington theatre. All of this made it clear that New York was ready for a full scale resumption of German opera when the German company concluded its performances got because arts are engaged a leading baritone Friedrich Schorr to appear at the Metropolitan during the 1923 season.

Schorr made his debut in town hoser on February 14th 1924 and became the first in the long line of peerless Wagnerian artists who made up the Metropolitan's outstanding German wing and ensemble that reached its zenith during the 30s. Soon after shore came cat in bronze L A remarkable Swedish contralto whose repertoire embraced roles in German French and Italian opera. Next week we have a delightful program in which Ned ember Ansel recalls many of the fascinating and amusing incidents which occurred during her long career at the Metropolitan. For now this is Milton Cross on behalf of miles cast in The hoping that you'll join us again then. Boston University Radio has presented a hall of song the story of

the Metropolitan Opera from 1883 to 966 the series is created and produced by Richard Calhoun a grant from the National Home Library Foundation has made possible the production of these programs for national educational radio. This is the national educational radio network.