15
MUSICAL COURIER
March 2, 1922
“Lucien Muratore greeted enthusiastically on his reappearance. After the second act the house rang for him with the acclamations of the multitude. Never was the favor of an audience more richly deserved. Muratore was in good voice and sang with the mastery of style, the variety and intensity of expression, and the winning and heartfelt directness that mark his vocal delivery in his best estate•״
—New York Globe, February 24,1922.
“He is the ideal youth in that role.”
—Evening Mail, February 24, 1922.
“It was a great comeback for Muratore. He showed little or no effect of his trouble physically, being as aggressive and as agile as ever.”
—Evening World, February 24, 1922.
“Muratore, minus appendix, returns in ‘Monna Vanna.’ Lucien Muratore, chief tenor of the Chicago Opera Association was sure of a warm reception. The opera was his favorite ‘Monna Vanna.’ So soon after his operation he was back in doublet, hose and the limelight, uplifted on the suspirations of thousands of gently rhapsodic admirers. It was a coming out of ether into empyrean. It was a mounting to regions higher than a hospital bed, purer than an operating room, more radiant than the face of a surgeon.”
—New York Evening Sun, February 24, 1922.
“Muratore is given ovation. The principal tenor of the Chicago Opera, whose absence from the company after he sang the opening night of the season at the Manhattan has deleted the chief interest in the westerner’s local activities, reappeared last evening in a performance of ‘Monna Vanna.’ There was an unusual heartiness not to say real warmth in the burst of applause that followed his first appearance in the opera, enough to interrupt the action until the tenor stepped from his role for a half minute and bowed. And the thing was done in such dignified fashion that there was nothing to forgive in its quiet halting of the drama.
“Muratore’s Prinzivalle. This Prinzivalle of Maeterlinck’s play, although a sentimentalist at heart, especially for his medieval day and generation, is nevertheless a stirringly romantic figure, and particularly so within the glamorous aura of impassioned nobility that Mr. Muratore’s art throws about him. He becomes a creature out of fabled and glorious story, a knight of tragic courage inevitably marked by the fates for the great adventure with Vanna, a shining conglomerate of Lancelot and Galahad. And as always with Mr, Muratore, he was the singing actor, whose voice was at the back of the action, the acting suiting the vocal line.”
—Evening Journal, February 24, 1922.
“Muratore returns. Receives a thunderous reception from a packed house. As the curtain fell after the second act he was greeted by a storm of applause and cheering that was not stilled until after he had taken recalls without number and had been the embarrassed recipient of an enormous wreath and an equally Gargantuan floral piece.”
—New York World, February 24,1922.
“Muratore was loudly greeted at his first appearance, and was obliged to break away from the dramatic picture to acknowledge the applause. He was likewise much applauded in the later progress of the opera. His recent hospital experience seemed to have had little appreciable effect upon his voice or his acting.”
—New York Times, February 24, 1922.
“Muratore welcomed as he sings again. Tenor, recovered from appendicitis operation, is acclaimed in ‘Monna Vanna’ at the Manhattan. There was nothing in his singing or acting to betray the fact that he had just emerged after a surgical operation.”
—New York Herald, February 24, 1922.
“Muratore greeted at Manhattan by enthusiastic crowd. Chicago Opera tenor’s first appearance since illness results in ovation; sings superbly in ‘Monna Vanna.’ Without doubt Lucien Muratore was the hero of the evening. Every seat was sold, while rows of standees endured subway conditions and a torrid atmosphere, and others vainly tried to force or insinuate an entrance. Muratore showed no signs to be seen or heard of his recent ordeal. He sang superbly with strength and apparent ease.”
—New York Tribune, February 24, 1922.
“When the curtain rose on the second act, applause swept the house, continuing for fully a minute. Then the famous tenor stood up and bowed. Vocally, Muratore proved to be in excellent form; in better condition, indeed, than before he was stricken.”
—New York American, February 24, 1922.
“Muratore sings in ‘Monna Vanna’ sensational performance with Mary Garden. Surprising recovery from operation with voice uninjured. When the curtain rose on the second act showing him seated at a table in his tent, there was such a frenzied outburst of welcoming applause that (^excusably) broke his rule of not acknowledging such an interruption, he got up, but did not bow. He has been called the successor of Caruso; rather should he be proclaimed the successor of Jean De Reszke.”
—New York Evening Post, February 24,1922.
Management: HARRY and ARTHUR CULBERTSON
Aeolian Hall, New York	4832 Dorchester Avenue, Chicago, 111,
(Mr. Mur atore uses the Baldwin Piano)