New to us was Signor Pinto. In the role of the Duke of Ferrara he unleashed a sturdy bass, at its most comfortable in the lowest regions. Things did not go so well toward the top. A special word of praise for his animated acting. Frau Kaulich. 7 filling in for the indisposed Frau Papier, undertook the role of Maffio Orsini, and carried it off well. His Majesty the Kaiser graced the performance of Lucrezia Borgia with his exalted presence. Signori Bertini and Pinto and Signora Turolla excited a veritable hurricane of applause after the second act of Lucrezia Borgia from an audience highly stimulated by an eminently successful performance.
May 4, 1884
An uncommonly feeble product that, one hopes, will very soon, and forever, vanish from the repertoire. The author of the absurd libretto, brewed from leftovers of the cheapest, most banal, most brutal fustian, is assumed to be the infamous Arrigo Boito, hiding behind the anagram, Tobia Gorrio. And from whom else could this book of horrors come but the author of Mefistofele? But why the mask? If Boito had the nerve, the gall, to write Mefistofele, and the cheek to present himself as the author of that absurd work, what had this dull lunatic, of all people, to lose by setting his name to the libretto of La Gioconda? Indeed, we can even tell this perverted Tobia Gorrio confidently that his text for La Gioconda, trivial, dirty, cannibalistic as it may be in invention and execution, does not touch the monstrous, idiotic bombast of his Mefistofele.
Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information: Book title: The Music Criticism of Hugo Wolf. Contributors: Henry Pleasants - Editor, Hugo Wolf - Author. Publisher: Holmes & Meier. Place of publication: New York. Publication year: 1978. Page number: 46.
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