Metropolitan Finale

In the chronicles of the Congregation of the Apostles in Parma there is to be found a story of one Gherardino Segarello, a young Parman of the 13th Century who, when refused admission to the Order of Lower Friars, put on sandals and tunic in imitation, sold his possessions, lived riotously and ended as a prison inmate.

Pizzetti's Fra Gherardo is a weaver who turns religious fanatic and gives all his goods to the poor. From things of the flesh he abstains rigidly, but first he indulges himself with Mariola, a beautiful village girl, then curses and forsakes her because she sees no sin in the love she has for him. Nine years later Gherardo comes back to Parma a saint. A mother in the crowd begs him to lay healing hands on her child. He rebukes her for bearing one. Mariola, ragged, disheveled, tells him of his own son who has died of starvation. The stern Gherardo turns weakling, would flee with her. But she pleads with him for the people of Parma who are oppressed by Church and State.

Heretics lived short lives in the 13th Century. Gherardo is arrested. He must recant his teachings or Mariola will be killed. He is led into the public square. He has betrayed the people once, twice, but the third time he shouts loudly for the truth. Mariola is stabbed in the crowd. For him there is death at the stake.

Tenor Edward Johnson sang the role of Gherardo at the Metropolitan. Soprano Maria Mueller was Mariola and both met their obligations conscientiously. But more dynamic personalities were needed to raise their scenes from dulldom. Perhaps it was the skilled workmanship of the score which persuaded one critic to pronounce it the finest new work to be staged at the Metropolitan since L'Amore dei Tre Re. Other critics found it sterile.

With the season almost over, the Metropolitan prepared for its annual spring tour. Baltimore is first on the itinerary, then Washington, Atlanta, Cleveland, Rochester. Among the leading singers who will not be heard on tour are Maria Jeritza (now in Vienna), Giovanni Martinelli (now in Rome), Feodor Chaliapin (soon to sail). Neither does Impresario Gatti-Casazza take to the road. Overlord will be his able assistant, Edward Ziegler. Gatti, staying in Manhattan, announced next season's plans. Seven novelties and revivals will be included in the Metropolitan fare during 1929-30. Revivals: The Girl of the Golden West, a Puccini-Belasco opus not heard in Manhattan for 15 years, with Maria Jeritza as the heroine; Donizetti's L'Elisir d'Amore, favorite Caruso opera last heard nine years ago; Charpentier's Louise of Geraldine Farrar fame, last heard eight years ago. The American premiere of Rimsky-Korsa-kov's Sadko will be among the novelties. Others: Beethoven's Fidelio, Mozart's Don Giovanni, Verdi's Luisa Miller.