Word: forza
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...Forza del Destino, by Verdi, a revival, absent from the Metropolitan's repertoire since...
...Pops concert program for tonight follows: 1. Overture to "La Forza del Destino" Verdi 2. Waltz from "Eugen Onegin" Tchaikovsky 3. Ave Maria Schubert-Wilhelmj Solo violin, harp, organ, and strings. 4. Fantasia, "Samson and Delilah" Saint-Saens 5. Suite, "Cephale et Procris" Gretry-Mottl Tambourin--Gigue 6. Valse, "Juanita" Hadley 7. Deep River Burleigh-Jacchia 8. Rhapsody, "Italia" Casella 9. Dance of the Hours Ponchielli 10. Puck's Minuet Howells 11. Procession of the Sardar Ippolitov-Ivanoff
...program of the regular "Pops" concert at 8.15 o'clock tonight in Symphony Hall follows: 1.Overture to "La Forza del Destino" Verdi 2. Waltz, "Joyous Vienna" Komzak 3. Meditation from "Thais" Massenet 4. Fantasia, "L'Africaine" Meyerbeer 5. First Hungarian Rhapsody Liszt 6. Prelude to Act III. "Tristan and Isolde" Wagner (English Horn Solo, Louis Speyer) 7. Phantoms Chaloff 8. Hymn to the Sun, from "Iris" Mascagni 9. Fantasia. "Lucia di Lammermoor" Donizetti 10. Minuet Bolzoni 11. Invitation to the Dance Weber-Berlioz
...circumstances under which Rosa Ponselle made hers. She had been a cabaret singer in New Haven, Conn. She was just out of vaudeville. Gatti Casazza thought he had found a second Farrar. For her first operatic appearance, the New Haven girl opened the Metropolitan season singing opposite Caruso in Forza del Destino. She had an enormous triumph that night. Since then her success has languished. She is an American. Perhaps if she had the personality of Jeritza she could have overcome that handicap...
...Forza del Destino: unfortunately is clumsily put together. The plot is dull, the music to a great extent uninteresting. The revival was entirely justified, however, by two exceeding impressive pieces of composition. The overture, which preceded the prologue, was a gloriously romantic combination of contrasting motifs, which in itself told the story of the opera, more interesting than the piece itself. The second act, a scene in a monastery, was both musically and dramatically effective. The composition here was in Verdi's more religious vein, and this, through the medium of a well trained chorus was presented most satisfactorily...