Kathleen Howard Honed Zita With One Gianni Schicchi and Nine Laurettas

Summary: Kathleen Howard honed Zita with one Gianni Schicchi and nine Laurettas during her 19 performances in Puccini's comic opera at the Metropolitan Opera.

costume designed by Pietro Sapelli (1865/1867-1936), known as Caramba, for Giuseppe De Luca in title role for world premiere of Puccini's Gianni Schicchi at the Metropolitan Opera Dec. 14, 1918: Sailko, Public Domain, via Wikimedia Commons

American mezzo-soprano Kathleen Howard honed Zita with one Gianni Schicchi and nine Laurettas, as well as three conductors, two directors and two Rinuccios, during her 19 performances in Puccini's comic opera at the Metropolitan Opera.

The Metropolitan Opera hosted the world premiere of Gianni Schicchi by Italian opera composer Giacomo Puccini (Dec. 22, 1858-Nov. 29, 1924) on Saturday, Dec. 14, 1918. Puccini's one-act comic opera (un'opera comica in un atto) received seven performances in the 1918-1919 season.

Roberto Moranzoni (Oct. 5, 1880-Dec. 14, 1959) conducted the world premiere as well as the season's six succeeding performances of Il Trittico. The Italian 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).

Richard Ordynski (Oct. 5, 1878-Aug. 13, 1953) directed Gianni Schicchi as well as Il Trittico's Il Tabarro and Suor Angelica. The Polish film and theatre director had made his Met Opera debut Thursday, March 8, 1917, in the opera house's world premiere of The Canterbury Pilgrims by American composer Henry Louis Reginald De Koven (April 3, 1859-Jan. 16, 1920).

Italian Stile Liberty (Liberty Style) artist Galileo Chini (Dec. 2, 1873-Aug. 23, 1956) specifically designed the production of Gianni Schicchi, while Pietro Stroppa was credited as designer for Il Tabarro and Suor Angelica. The Metropolitan Opera's world premiere of Gianni Schicchi marked Galileo Chini's Met Opera debut. Italian painter and scenographer Pietro Stroppa (Oct. 24, 1878-May 24, 1935) had made his Met Opera debut Friday, Jan. 13, 1911, in the opera house's 108th performance of Roméo et Juliette by French composer Charles-François Gounod (June 17, 1818-Oct. 18, 1893).

Kathleen Howard's appearance as Zita in the world premiere qualified her as the role's creator at Met Opera. The American mezzo-soprano (July 27, 1884-April 15, 1956) had made her Metropolitan Opera debut Tuesday, Nov. 14, 1916, as the Nurse in the opera house's 27th performance of Boris Godunov by Russian composer Modest Petrovich Mussorgsky (March 21, 1839-March 28, 1881).

Gianni Schicchi's storyline closely associates Zita with the actions and wishes of three characters. Zita's concern over the effects of her deceased cousin Buoso Donati's monastery-bequeathing will on her and her nephew Rinuccio impel her to cooperate in a will-altering scheme orchestrated by Buoso Donati's impersonator, Gianni Schicchi. Rinuccio and Gianni Schicchi's daughter, Lauretta, wish to marry.

Giuseppe De Luca (Dec. 25, 1876-Aug. 26, 1950) created the title role, with appearances in all seven performances of Gianni Schicchi's world premiere season. The Italian baritone had made his Met Opera debut Thursday, Nov. 25, 1915, in the title role of Figaro in the opera house's 84th performance of Il Barbiere di Siviglia by Italian composer Gioachino Rossini (Feb. 29, 1792-Nov. 13, 1868).

Giulio Crimi (May 10, 1885-Oct. 29, 1939) created the role of Zita's nephew Rinuccio with appearances in all seven 1918-1919 season performances. The Italian operatic tenor had made his Met Opera debut Wednesday, Nov. 13, 1918, as Radamès in the opera house's 236th performance of Verdi's Aida.

Florence Easton (Oct. 25, 1882-Aug. 13, 1955) created Lauretta in the world premiere season's first five and seventh, last performances. The English dramatic soprano made her Metropolitan Opera debut Friday, Dec. 7, 1917, as Santuzza in the opera house's 172nd performance of Cavalleria Rusticana by Italian operatic composer Pietro Mascagni (Dec. 7, 1863-Aug. 2, 1945).

Mary Ellis (June 15, 1897/1900?-Jan. 30, 2003) became Met Opera's second Lauretta with her appearance in the role for the world premiere season's sixth performance (Saturday, Feb. 1, 1919). The American-British soprano had made her Met Opera debut during triple-billed Il Trittico's world premiere Saturday, Dec. 14, 1918, as Genovieffa in Suor Angelica.

Kathleen Howard rejoined conductor Roberto Moranzoni, director Richard Ordynski and principals Giuseppe De Luca and Giulio Crimi for all four Gianni Schicchi performances in the opera's second Met Opera season, 1919-1920. Florence Easton sang Lauretta for the first two (Wednesday, Dec. 17, 1919; Saturday, Jan. 3, 1920) and fourth, last (Monday, March 1) performances.

Marie Sundelius (born Marie Sundborg; Feb. 4, 1882-June 27, 1958) became Met Opera's third Lauretta with her appearance in the 1919-1920 season's third performance (Saturday, Jan. 31, 1920). The Swedish-American classical soprano had made her Met Opera debut Saturday, Nov. 25, 1916, as the First Priestess in the opera house's United States premiere of Iphigénie en Tauride by German classical composer Christoph von Gluck (July 2, 1714-Nov. 15, 1787).

The 1919-1920 season's closing performance (Monday, March 1) of Gianni Schicchi numbered as the opera's 11th performance at the opera house. Five seasons ((1920-1921 season through 1924-1925 season) passed between Gianni Schicchi's second Met Opera season and its third season.

In the 1925-1926 season, the Metropolitan Opera separated Gianni Schicchi from Il Trittico for a new production headed by Wilhelm von Wymetal (1862-Nov. 11, 1937). The new production qualified Wymetal as Met Opera's second Gianni Schicchi director. 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).

Joseph Novak was credited as the new production's set designer. He had made his Met Opera debut Saturday, Jan. 24, 1914, in the opera house's world premiere of Madeleine by American composer Victor August Herbert (Feb. 1, 1859-May 26, 1924).

As the new production's conductor, Gennaro Papi (Jan. 21, 1885-Nov. 29, 1941) became Met Opera's second Gianni Schicchi conductor. The Italian operatic conductor had made his Met Opera debut Thursday, April 29, 1915, in the opera house's 82nd performance of Verdi's Rigoletto.

Kathleen Howard and Giuseppe De Luca reprised their roles for the 1925-1926 season's four performances. Florence Easton reprised Lauretta for the season's first performance (12th overall performance).

Giacomo Lauri-Volpi (Dec. 11, 1892-March 17, 1979) became Met Opera's second Rinuccio with his appearances in all four performances. The Italian lyric tenor had made his Met Opera debut Friday, Jan. 26, 1923, as the Duke of Mantua in the opera house's 127th performance of Verdi's Rigoletto.

Queena Mario, stage name of Queena Marian Tillotson (Aug. 21, 1896-May 28, 1951), became Met Opera's fourth Lauretta with her appearance in the season's second performance (Friday, Feb. 9). The American lyric soprano had made her Met Opera debut Thursday, 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).

Raymonde Delaunois (Oct. 12, 1885-June 30, 1984) became Met Opera's fifth Lauretta with her appearance in the season's third performance (Thursday, March 4). The Belgian mezzo-soprano had made her Met Opera debut Saturday, Nov. 28, 1914, as Feodor in the opera house's 12th performance of Mussorgsky's Boris Godunov.

Ellen Dalossy became Met Opera's sixth Lauretta by singing the role in the season's fourth, closing performance (St. Patrick's Day, Wednesday, March 17). The Prague-born Jewish soprano had made her Met Opera debut Friday, Dec. 10, 1920, as a Flower Maiden in the opera house's 91st performance of Parsifal by German Romantic era composer-librettist Richard Wagner (May 22, 1813-Feb. 13, 1883).

As maestro of the three performances offered in the next season, 1926-1927, Vincenzo Belleza (Feb. 17, 1888-Feb. 8, 1964) became Met Opera's third Gianni Schicchi conductor. The Italian opera and symphony conductor had made his Met Opera debut Thursday, Nov. 4, 1926, in the opera house's ninth performance of I Gioielli della Madonna by Italian composer Ermanno Wolf-Ferrari (Jan. 12, 1876-Jan. 21, 1948).

Kathleen Howard sang Zita for the season's first two performances (Saturday, Jan. 29, 1927; Monday, Feb. 28). She shared the role with Ina Bourskaya (Sept. 9, 1886-June 25, 1954), who became Met Opera's second Zita in the season's third, closing performance (Tuesday, April 26). The Ukrainian-born Russian, then naturalized American mezzo-soprano had made her Met Opera debut Friday, March 2, 1923, in the title role in the opera house's 280th performance of Bizet's Carmen.

Armand Tokatyan (June 16, 1894-June 12, 1960) succeeded Giacomo Lauri-Volpi to became Met Opera's third Rinuccio in the 1926-1927 season's three performances. The Bulgarian-born Armenian operatic tenor had made his Met Opera debut Tuesday, Dec. 19, 1922, as Turiddu in the opera house's 210th performance of Mascagni's Cavalleria Rusticana.

Met Opera's fourth Lauretta, Queena Mario, sang the role in the season's first performance. She shared Lauretta with Elda Vettori (Oct. 25, 1890-Feb. 4, 1965), whose appearance in the season's second performance numbered her as Met Opera's seventh Lauretta. The Italian, then naturalized American soprano had made her Met Opera debut Saturday, Nov. 20, 1926, as Santuzza in the opera house's 252nd performance of Mascagni's Cavalleria Rusticana.

Louise Hunter, stage name of Anna Louise Todhunter (1904?-Sept. 13, 1981), became Met Opera's eighth Lauretta with her appearance in the season's third, closing performance. 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.

In the following season, 1927-1928, Gianni Schicchi received two performances. The opera house was the venue for the first, opening (Wednesday, March 21, 1928) and second, closing (Saturday, April 7) performances.

Kathleen Howard, conductor Vincenzo Bellezza and principals Giuseppe De Luca and Armand Tokatyan returned for the two performances that Gianni Schicchi received in the following season, 1927-1928. They were joined by Met Opera's ninth Lauretta, Grace Moore (Dec. 5, 1898-Jan. 26, 1947). The American operatic soprano had made her Met Opera debut Tuesday, Feb. 7, 1928, as Mimì in the opera house's 251st performance of Puccini's La Bohème.

Kathleen Howard achieved her 18th Zita appearance in the 1927-1928 season's first, opening performance (Wednesday, March 21, 1928). She sang her 19th and last Zita in the season's second, closing (Saturday, April 7) performance of Gianni Schicchi.

Kathleen Howard's 19 Zita appearances occurred in Met Opera's first 20 performances of Gianni Schicchi. Her appearances were spread across five seasons, distinguished as two sets. The first set comprised the world premiere season, 1918-1919, and its succeeding season, 1919-1920. The second set, occurring after a no-Gianni Schicchi gap of five seasons, referenced Wilhelm von Wymetal's new production, 1925-1926, and its two succeeding seasons, 1926-1927 and 1927-1928.

In the course of her 19 Zita appearances, Kathleen Howard sang with one Gianni Schicchi, title role-creator Giuseppe De Luca. She appeared with three Rinuccios (Giulio Crimi, Giacomo Lauri-Volpi, Armand Tokatyan) and nine Laurettas (Florence Easton, Mary Ellis, Marie Sundelius, Queena Mario, Raymonde Delaunois, Ellen Dalossy, Elda Vettori, Louise Hunter, Grace Moore).

Kathleen Howard sang with three conductors (Roberto Moranzoni, Gennaro Papi, Vincenzo Bellezza). She experienced two productions, the first directed by Richard Ordynski and the second by William von Wymetal.

The takeaways for Kathleen Howard's creation of Zita in Puccini's Gianni Schicchi at Met Opera are that the American mezzo-soprano sang the role in 19 of the opera's first 20 performances at Met Opera; that she reprised the role after the opera's five season break; that she sang with three conductors, two directors, three Rinuccios and nine Laurettas; and that she sang with only one Gianni Schicchi, title role-creator Giuseppe De Luca.

New York's White Studio's photograph of scene of reading Buoso Donati's will in Metropolitan Opera's world premiere of Puccini's Gianni Schicchi, Dec. 14, 1918; scenery by Galileo Chini and costumes by Pietro Sapelli, known as "Caramba," in production directed by Richard Ordynski; Victrola Book of Opera (1919), page 150: Public Domain, via Wikimedia Commons

Acknowledgment

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

Image credits:

costume designed by Pietro Sapelli (1865/1867-1936), known as Caramba, for Giuseppe De Luca in title role for world premiere of Puccini's Gianni Schicchi at the Metropolitan Opera Dec. 14, 1918: Sailko, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Carambra,_bozzetto_originale_per_costume_Gianni_Schicchi_(1918).JPG

New York's White Studio's photograph of scene of reading Buoso Donati's will in Metropolitan Opera's world premiere of Puccini's Gianni Schicchi, Dec. 14, 1918; scenery by Galileo Chini and costumes by Pietro Sapelli, known as "Caramba," in production directed by Richard Ordynski; Victrola Book of Opera (1919), page 150: Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Gianni_Schicchi_will_scene.png; Public Domain, via Internet Archive @ https://archive.org/details/5thvictrolaopera00rousuoft/page/150/mode/1up?view=theater

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