"Don Jose"
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1932 brings the end of Lindi's Italian career, The fascist goverment now in control forbids any foreign singer to perform in that country. With authorities refusing to allow any art objects to leave , Lindi is able to salvage a prize of his. A full size oil portrait of the tenor is concealed in the lining of his overcoat, and he carries it with him on his last crossing of the Atlantic..... The next twelve years his chosen pursuit is in the United States and Canada. Appearing with Fortune Gallo's San Carlo Opera Co, Alfredo Salmaggi's Chicago Grand, the Philadelphia Opera Co. Cincinatti Zoo Opera, Chicago Civic Opera, and The Robin Hood Dell of Philadelphia. Added roles are Dick Johnson, Vasco da Gama, Pollione, Sansone , Lohengrin, and Tannhauser,..... Lindi would share his Radames with Norma Richter, Bianca Saroya, Anna Roselle, Dreda Aves, Charlotte Ryan, Coe Glade, Norina Greco, Marie Powers, Anna Lescaya, Lyuba Senderowna, Maru Castagna, and Rose Bampton. Also Eleanor LaMance, Hilda Burke, Mobley Lushanya, Kirstin Thorborg, Stella Roman, Caterina Jarboro, and Charlotte Bruno.... Pasquale Amato, Mario Valle, Chief Caupolican, Stefan Ballarini, Harold Kravitt, Norman Cordon and Joseph Royer would be alongside. .... His Canio will have Richter, Ethel Fox, Jean Tennyson, Charlotte Symons, Leola Turner, Marita Farell, Roselle, Hilda Burke, and Dortothy Kirsten..., Amato, Valle, Angelo Pilotto, Stefan Kozakevich, Robert Weede, Ballarini, and Royer will take part.....The Don Alvaro role will be essayed with Saroya, Lushanya, Maria Capuano, and Bianca Scacciati, along with Messrs. Valle and Kravitt....Lindi's.Trovatore is sung with Mmes. Glade, Saroya, Ina Bourskaya, Roselle, Aves, Greco, Bampton, Anna Kaskas, Lushanya, Powers, Leskaya, Castagna, Senderowna, Roman, and Eleanor LaMance... Valle, Kravitt, Ballarini, Pilotto, Kozakevich, Weede, and Royer are colleagues....Enzo Grimaldo stage partners are Lydia Van Gilder, Leskaya, and Bruno... Pilotto, Valle, and Royer are cast......The portrayal of Cavaradossi couples with Saroya, Lushanya, Leskaya,with Amato, and Valle.....Turiddu has Richter, Saroya, Rosa Tentoni, Bruno , with Caupolican, Pilotto, Kozakevich, and Royer.......Otello features Richter, Saroya, Jean Peters, Marie Powers, Tentoni, and Richard Bonelli, Carlo Morelli, Pilotto, Kravitt, and Valle......Dick Johnson is presented with Corona and Royer.....Lindi's Calaf would include Rosa Raisa and Norman Cordon..... Carmen's Don Jose has Glade, Fox, Bourskaya, Aves, Symons, B. Castagna, M. Castagna, L. Turner, Farell, Rise Stevens, and Gladys Swarthout as some of his partners,... The lower register is presented by Messrs. Royer, Caupolican, Pilotto, Morelli, Ballarini, Valle, and Weede..... Sansone is shared with Mmes. Bourskaya, Aves, B, Castagna, Glade, Stevens, Thorborg, and Cyrena Van Gordon... Sandor Sved, Pilotto, Royer, Kozakevich, Valle, and Kravitt complete the roles here..... The part of Vasco da Gama is coupled with Mme. Richter, and Messrs. Pilotto and Cordon.... Pollione has Rose Bampton, Anna Kaskas, and Norman Cordon as associates..... Tannhauser is accompanied with L. Turner, Saroya, Bruno, and Glade... Cordon, Kozakevich, Kravitt, and Valle are featured.... And, of course, the omnipresent Mostyn Thomas, the Welsh baritone, would collaborate in Aida, Pagliacci, Trovatore,Carmen, Samsone, and Tannhauser over a period of twelve years, in hundreds of performances on the lyric stage with Lindi.... Maestros would range from Leotti to Serafin, Bellezza, Toscanini, Merola, Bamboschek, and from Lofstrom to Cleva, Peroni, Mahler, and Buckley. |
"Don Jose"
Sweden, 1930
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Engagements at every major house on the continent, plus Yankee Stadium, Carnegie Hall, the Steel Pier in Atlantic City, and the Radio City Music Hall, in N.Y.C. The latter is the opening in 1932 of the huge building, and is shared with Coe Glade and Titta Ruffo, performing forty minute abridged versions of Carmen.....Accomplishments would include the creation of 'Calaf' in the first showing of Turandot in Chicago, 1934...... Lindi sings the Italian operas in the native tongue, Carmen and Samson in French, and Lohengrin and Tannhauser in German....... On June, 8, 1933, the tenor gives Canio in the afternoon at the Hippodrome, and Manrico in the evening. On 28 September, 1935, in Massey Hall, Toronto, Lindi does Carmen,, then Pagliacci, Tannhauser,Aida, and Trovatore in the next seven days. No small feat for even this "tenore drammatico di robusta qualita", |
"Calaf "
"Turiddu"
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Around 1930, Lindi marries for the second time, to Elinita Montez [1899-1977] of San Antonio, Texas. A singer,she is known professionally as Elaine Thomson.................. In the mid thirties, world wide radio broadcasts were heard from Italy. Sponsored by wine maker Martini & Rossi, Lindi is among the celebrities participating. A Swedish listener would recall hearing an aria from Martha, not in the tenors usual repertoire........During the depression years of the thirties in America, Gallo's San Carlo and Salmaggi's Chicago would compete with another 'popular priced' opera company, The Peoples Opera Co., with Metropolitan stars..... An interesting article of The New York Times in 1934, discovered during our research, reveals: " Aroldo Lindi, tenor of the San Carlo Grand Opera, plans a tour, including Italy, Sweden, Poland, Russia, and Japan." As far as we can determine, this ambitious undertaking would not be forthcoming, perhaps due to the heavy schedule of The San Carlo, or perhaps the looming war climate in both Europe and the far east. |
"Dick Johnson"
Lazzari,Cortis,Trevisan,Raisa,Oliviero,Lindi,Rimini
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Randomly selected from dozens of reviews in our file include:..... N.Y. Times,1933-Aroldo Lindi's big tenor voice seemed to be suited to the far reaches of Lewisohn Stadium.......Musical Leader 1934- Lindi was the Don Jose and he is one of the seasons "finds". As Canio, he has a great dramatic voice. Again, as Radames, he gave a magnificent performance.......Montreal Gazette1936- Lindi took his voice in his hands, so to speak, and tore passion to shreds........Cincinatti Post 1936- as for Mr. Lindi, he WAS Samson.......Chicago Herald 1936-the hero of the evening was Aroldo Lindi........Los Angeles Evening Herald 1940- Lindi set a high mark of excellence with his famous Vesti la Giubba, and everything had to stop to acclaim him,,,,,,,Washington,D.C. Times Herald 1941- Fortune Gallo formed this company thirty years ago around a lusty lunged Trovatore cast. He now has Lindi!......Philadelphia Evening Bulletin 1941- Harold Lindi was a big voice Radames, and managed a ringing B flat....... Cincinatti Times Star 1943- Lindi's voice has superior quality carrying power and emotional stress...... And in the Aida VAI CD booklet, Allan Altman writes: "Lindi comes across as the quintessential Italian tenor. It is the generous use of a truly opulent instrument that his Radames is a major asset to this recording"....Probably the highest praise would come from the authors mother. When after viewing a Pavorotti concert on television years ago, she was asked "do you think he is better than Lindi?" A stern look, then came the answer," nobody was better than Lindi!" |
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To be sure, not all reviews were lauditory. We balance the picture out with these notations..... Philadelphia Evening Buletin 1933- the part Don Jose was sung by Aroldo Lindi, somewhat portly, but still of handsome and not entirely unromantic appearance....... Chicago American 1936- the role of Tannhauser does not suit Aroldo Lindi's style. True, he has the driving force and lusty vocal resources, but the poetic and romantic side of his art have been entirely neglected!........New York World Telegram 1938- as a victim of Dalilas shears, Mr, Lindi was a mildly troubled figure. He seemed bent on parlor flirtation!....... Hartford Courant- Mlles Lushanya and Powers and Harold Lindi suffered as a result of mistakenly forcing their voices....... Hartford Times 1941- since his last visit, Mr Lindi has paid some attention to the problem of acting, but its basic elements still baffle him....... N.Y. Herald Tribune 1942- Mr. Lindi's Di Quella Pira was sung with much spirit and a little wandering from the pitch...... and Guido Tartoni writes in the Carlo Felice in Genoa Vol.IV CD booklet "not a beautiful voice except for some 'forte' notes, and not particularly sound. His voice tends to grow firmer in the higher reaches". |
Aida
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