Anima Allegra's 10th, Last Met Opera Performance Was March 28, 1924

Summary: Anima Allegra's 10th, last Met Opera performance was Friday, March 28, 1924, during the opera house's first revival of Franco Vittadini's happy opera.

Canadian mezzo-soprano Kathleen Howard as Met Opera's Donna Sacramento, whose emotional arc soars from gloom to gladness in 20th-century Italian composer and conductor Franco Vittadini's second opera, Anima Allegra ("Lively Spirit" or "Joyous Soul"); photograph by White Studio, New York City; Shadowland, vol. VIII, no. 3 (May 1923), page 54: Public Domain, via Wikimedia Commons

Anima Allegra's 10th, last Met Opera performance was Friday, March 28, 1924, one year and one and one-half months after the opera house's hosting of the joyous opera's United States premiere.

Italian composer and conductor Franco Vittadini (April 9, 1884-Nov. 30, 1948) set his score of Anima Allegra ("Lively Spirit" or "Joyous Soul") to an Italian libretto by Italian librettist, playwright and music critic Giuseppe Adami (Feb. 4, 1878-Oct. 12, 1946) and Italian writer Luigi Motta (July 11, 1881-Oct. 18, 1955). The libretto was based upon El genio alegre, a Spanish commedia in tre atti (comedy in three acts) by the Quinteros Brothers (hermanos Álvarez Quintero), Serafín Álvarez Quintero (March 26, 1871-April 12, 1938) and Joaquín Álvarez Quintero (Jan. 20, 1873-June 14, 1944). Anima Allegra was first performed Friday, April 15, 1921, at Teatro Costanzi in Rome, Italy.

The United States premiere of Anima Allegra took place Wednesday, Feb. 14, 1923, at the Metropolitan Opera House. Vittadini's commedia lirica in tre atti (lyric comedy in three acts) received six performances in the 1922-1923 season. The Metropolitan Opera House was the venue for the premiere, second (Friday, Feb. 23), fourth (Monday, March 5), fifth (Thursday, March 15) and sixth, closing (Saturday, April 7) performances. The third performance was staged Tuesday, Feb. 27 at New York City's Brooklyn Academy of Music.

Roberto Moranzoni (Oct. 5, 1880-Dec. 14, 1959) conducted all six performances. The Italian opera conductor had made his Met Opera debut Monday, Nov. 12, 1917, in the opera house's 225th performance of Aida by Italian opera composer Giuseppe Verdi (Oct. 10, 1813-Jan. 27, 1901).

Lucrezia Bori, stage name of Lucrecia Borja y González de Riancho (Dec. 24, 1887-May 14, 1960), appeared as Consuelo, whose anima allegra brings refreshing changes to the usually gloomy ancestral home of her aunt, Donna Sacramento. The Spanish lyric soprano had made her Met Opera debut Thursday, June 9, 1910, in the title role in the opera house's 12th performance of Manon Lescaut by Italian opera composer Giacomo Puccini (Dec. 22, 1858-Nov. 29, 1924).

Giacomo Lauri-Volpi (Dec. 11, 1892-March 17, 1979) sang Pedro, whose bored visits in Act I contrast with joyous visits inspired by his cousin Consuelo's reciprocated love in Act III. The Italian lyric tenor's Met Opera debut Friday, Jan. 26, 1923, as the Duke of Mantua in the opera house's 127th performance of Verdi's Rigoletto, had preceded his appearance in Anima Allegra's premiere by only two and one-half weeks.

Kathleen Howard (July 27, 1884-April 15, 1956) appeared as Pedro's mother, Donna Sacramento, whose gloomy life is gladdened by her niece's unexpected visit. The Canadian-born American mezzo-soprano had made her Met Opera debut as the Nurse in the opera house's 27th performance of Boris Godunov Russian composer Modest Petrovich Mussorgsky (March 21, 1839-March 28, 1881).

Queena Mario, stage name of Queena Marian Tillotson (Aug. 21, 1896-May 28, 1951), sang Coralito, Consuelo's equally joy-filled maid. The American lyric soprano had made her Met Opera debut Nov. 30, 1922, as Micaela in the opera house's 277th performance of Carmen by French Romantic Era composer Georges Bizet (Oct. 25, 1838-June 3, 1875).

Armand Tokatyan (June 16, 1894-June 12, 1960) appeared as Lucio, Donna Sacramento's servitor, whose serenade, E arrivata Primavera ad Alminar (Spring has come to Alminar), expresses the refreshing changes ensuing from Consuelo's unexpected visit. The Bulgaria-born Armenian operatic tenor had made his Met Opera debut Tuesday, Dec. 19, 1922, as Turiddu in the opera house's 210th performance of Cavalleria Rusticana by Italian opera composer Pietro Mascagni (Dec. 7, 1863-Aug. 2, 1945).

Adamo Didur (Dec. 24, 1874-Jan. 7, 1946) sang Eligio, Donna Sacramento's administrator, whose crustiness is softened by the refreshing effects of Consuelo's anima allegra. The Polish operatic bass had made his Met Opera debut Saturday, Nov. 14, 1908, as Méphistophélès in the opera house's 256th performance of Faust by French composer Charles-François Gounod (June 17, 1818-Oct. 18, 1893).

Grace Anthony, American operatic mezzo-soprano Marion Telva (Dec. 26, 1897-Oct. 23, 1962) and Myrtle Schaaf (ca. 1899/1902-March 30, 1977) appeared in Gypsy roles of Carmen, Frasquita and Mariquita, respectively. Grace Anthony had made her Met Opera debut Wednesday, Nov. 16, 1921, as a Page in Lohengrin by German Romantic era composer-librettist Richard Wagner (May 22, 1813-Feb. 13, 1883). Marion Telva's Met Opera debut had occurred Dec. 31, 1920, as a Solo Madrigalist in the opera house's 51st performance of Puccini's Manon Lescaut. Myrtle Schaaf had made her Met Opera debut Tuesday, Nov. 15, 1921, as Mercédès in the opera house's 267th performance of Bizet's Carmen.

Italian operatic tenor Angelo Badà (May 27, 1876-March 23, 1941), Italian baritone Millo Picco (1888-?) and Italian bass Italo Picchi (Jan. 31, 1876-Jan. 3, 1937) sang Gypsy roles of Tonio, Diego and Ramirrez, respectively. Angelo Badà had made his Met Opera debut Monday, Nov. 16, 1908, as the Messenger in the opera house's 126th performance of Verdi's Aida. Millo Picco's Met Opera debut had occurred Monday, April 7, 1919, as Manfredo in the opera house's 21st performance of L'Amore dei Tre Re by Italian composer Italo Montemezzi (Aug. 4, 1875-May 15, 1952). Italo Picchi had made his Met Opera debut Thursday, Nov. 30, 1922, as Dr. Grenvil in the opera house's 116th performance of Verdi's La Traviata.

American operatic tenor Rafaelo Díaz (Francisco Rafael Díaz; May 16, 1883-Dec. 12, 1943) and Paolo Ananian appeared as a Singer and a Gypsy, respectively. Rafaelo Díaz had made his Met Opera debut Saturday, January 5, 1918, as Nicias in the opera house's seventh performance of Thaïs by French Romantic Era composer Jules Massenet (May 12, 1842-Aug. 13, 1912). Paolo Ananian's Met Opera debut had occurred Saturday, Nov. 14, 1908, as Wagner in the opera house's 256th performance of Gounod's Faust.

The Metropolitan Opera's production of Anima Allegra was directed by Wilhelm von Wymetal (1862-Nov. 11, 1937). The Viennese stage director had made his Met Opera debut Friday, Nov. 17, 1922, in the opera house's 28th performance of Der Rosenkavalier by German composer Richard Strauss (June 11, 1864-Sept. 8, 1949).

Antonio Rovescalli (Dec. 23, 1864-Dec. 21, 1936) and Mathilde Castel-Bert were the production's set designer and costume designer, respectively. Antonio Rovescalli had made his Met Opera debut Wednesday, February 3, 1909, in the opera house's 21st performance of Massenet's Manon. Mathilde Castel-Bert's Met Opera debut had occurred Saturday, Nov. 22, 1919, in the opera house's 19th performance of La Juive by French composer Fromental Halévy (May 27, 1799-March 17, 1862).

The production's choreographer was Rosina Galli (June 19, 1892-April 30, 1940). The Italian ballet dancer and teacher had made her Met Opera debut Thursday, Nov. 19, 1914, in the opera house's 207th performance of Bizet's Carmen.

Rosina Galli arranged Act II's "Ballet -- Spanish Dances," according to the Metropolitan Opera Archives Database (MetOpera Database). She danced the opera's Malaguena. She was joined in the Panaderos by Giuseppe Bonfiglio (1884-1947) and Florence Rudolph. Giuseppe Bonfiglio had made his Met Opera debut Thursday, March 12, 1908, in the opera house's 24th performance of Mignon by French composer Ambroise Thomas (Aug. 5, 1811-Feb. 12, 1896). Florence Rudolph's Met Opera debut had occurred Thursday, Feb. 6, 1919, in the opera house's first performance of Petrouchka by Russian-born composer, conductor and pianist Igor Stravinsky (June 17, 1882-April 6, 1971).

The Metropolitan Opera revived Anima Allegra in the next season. Anima Allegra received four performances in the 1923-1924 season. The Metropolitan Opera House was the venue for all performances: Wednesday, Feb. 13, 1924; Thursday, Feb. 21; Monday, March 3; and Friday, March 28.

Except for Queena Mario and Myrtle Schaaf, everyone reclaimed their roles from the premiere season. Queena Mario returned in the revival, but not as Coralito. She sang Consuelo, Coralito's mistress in the revival's second performance (Feb. 21). Lucrezia Bori reprised Consuelo in the 1923-1924 season's first (Feb. 13), third (March 3) and fourth, closing (March 28) performances.

Nannette Guilford, stage name of Nanette Gutman (Aug. 17, 1903-March 17, 1990), replaced Queena Mario as Coralito. The American operatic soprano had made her Met Opera debut Saturday, Nov. 10, 1923, as Countess Ceprano in the opera house's 131st performance of Verdi's Rigoletto.

Louise Hunter, stage name of Anna Louise Todhunter (1904?-Sept. 13, 1981), replaced Myrtle Schaaf as Mariquita. The American operatic soprano had made her Met Opera debut Saturday, Nov. 17, 1923, as an Orphan in the opera house's 34th performance of Strauss' Der Rosenkavalier.

The 1923-1924 season's fourth, closing performance on Friday, March 28, remains Met Opera's last presentation of Anima Allegra. The Metropolitan Opera has not staged Vittadini's joyous opera since its first revival.

The takeaways for Anima Allegra's 10th and last Met Opera performance on March 28, 1924, are that the opera premiered in the 1922-1923 season with 10 performances; that the spirited opera received four performances in its revival in the next season, 1923-1924; that the Metropolitan Opera has not staged Anima Allegra since its 1923-1924 season revival; and that only one year one and one-half months elapsed between the first and last performances of Met Opera's only Vittadini opera.

Anima Allegra's United States premiere Feb. 14, 1923, at the Metropolitan Opera marked the spirited opera's status, albeit now lengthily inactive, as the only opera by Italian composer and conductor Franco Vittadini in the opera house's repertoire: Music History @today_classical, via Twitter April 9, 2020

Acknowledgment

My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:

Canadian mezzo-soprano Kathleen Howard as Met Opera's Donna Sacramento, whose emotional arc soars from gloom to gladness in 20th-century Italian composer and conductor Franco Vittadini's second opera, Anima Allegra ("Lively Spirit" or "Joyous Soul"); photograph by White Studio, New York City; Shadowland, vol. VIII, no. 3 (May 1923), page 54: Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Kathleen_Howard_-_Anima_Allegra_-_May_1923_Shadowland.jpg; Public Domain, via Internet Archive @ https://archive.org/details/shadowland08brew/page/n217/mode/1up

Anima Allegra's United States premiere Feb. 14, 1923, at the Metropolitan Opera marked the spirited opera's status, albeit now lengthily inactive, as the only opera by Italian composer and conductor Franco Vittadini in the opera house's repertoire: Music History @today_classical, via Twitter April 9, 2020, @ https://twitter.com/today_classical/status/1248166386758713344

For further information:

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The Sembrich @The_Sembrich. "Our collection contains a number of gifts given to Madame Sembrich. This incense holder was a gift from her student Queena Mario, who taught alongside her teacher at the @JuilliardSchool and the @CurtisInstitute. Camera: Sembrich and Mario at Bay View, ca 1922. #History #TheSembrich." Twitter. Nov. 5, 2020.
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The Sembrich @The_Sembrich. "Queena Mario, soprano and student of Mme. Sembrich, taught @CurtisInstitute students and sang on the @MetOpera stage over 300 times! #TheSembrich #LakeGeorge #BoltonLanding #GlensFalls #Saratoga #AlbanyNY #Adirondacks #LakePlacid #UpstateNY #ClassicalMusic #opera #music #culture." Twitter. Dec. 19, 2018.
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Vittadini, Franco. Anima Allegra (The Joyous Soul) in 3 Acts. Italian version by Giuseppe Adami. English version by R.H. Elkin. Italian version, copyright 1920. English version, copyright 1922. New York NY: G. Ricordi & Co.
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Available from Harvard Univrsity via HathiTrust @ https://hdl.handle.net/2027/hvd.32044040856585
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The Woodlawn Cemetery & Conservancy @WoodlawnCemNY. "A renowned opera singer, #WoodlawnConnection Queena Mario made her debut at the Met in 1922. She became one of the nation’s premier voice teachers and a successful author of mystery fiction. In her books, like 'Murder Meets Mephisto,' her characters were opera performers." Twitter. March 26, 2020.
Available @ https://twitter.com/hashtag/WoodlawnConnection?src=hashtag_click