(Part 1 of 3)
By James A. Drake
Born of Italian parents who had emigrated from Palermo, Sicily, to Buffalo, New York in 1890, Nina Morgana (1891-1984) first sang in public performances in her native city’s Italian district in 1900.  After studying in Italy with Teresa Arkel from 1909-1913, she made well-received debuts in Alessandria and in Milan. When she returned to America, she was chosen by Enrico Caruso as one of his assisting artists in a highly-publicized series of concerts in the United States. Morgana made her Metropolitan Opera debut in the 1920-21 season, having previously sung with the Chicago Opera Association under the management of Mary Garden.
In June 1921, scarcely two months before Caruso’s sudden death, Morgana married the tenor’s full-time secretary, Bruno Zirato (1886-1972), who later became the general manager of the New York Philharmonic and also served as Arturo Toscanini’s representative in North and South America. Essentially self-educated and invariably self-assured, Morgana was well-acquainted with Beniamino Gigli, as she discussed in a number of interviews conducted by the author from 1973-1979.
Bruno Zirato with Dorothy and Enrico Caruso on their wedding day, August 20, 1918. The location is the roof of the Knickerbocker Hotel, New York.
(G.G. Bain Collection, Library of Congress)
You and Beniamino Gigli made your Metropolitan Opera debuts during the same season, is that correct?
In the same season, yes, and less than twenty-four hours apart: Gigli made his as Faust in Boito’s Mefistofele on November 26, 1920, and I made mine as Gilda in Rigoletto on Saturday, November 27. But strictly speaking, my debut was not my first performance at the Met. Several months earlier, on March 28, I sang three arias at a Sunday Night Concert, with Pasquale Amato and [violinist] Albert Spalding also on the program.
Was Caruso [was] to have sung the Duke in your debut in Rigoletto?
Yes, but he was ill, so Mario Chamlee sang the Duke at my debut.  Giuseppe De Luca sang Rigoletto. Chamlee and De Luca were also my partners in Barber of Seville during that same season. I also sang Nedda in Pagliacci with Edward Johnson as Canio and Antonio Scotti as Tonio in my debut season. I was to have sung Pagliacci with Caruso originally.
In operatic circles, it is widely known that you were “discovered” by Caruso. When and where did this “discovery” take place?
I can tell you precisely: it was on Saturday, May 9, 1908, at 3:00 p.m., in Buffalo, New York, in one of the four suites on the top floor of the Iroquois Hotel. I can be more specific by telling you that Caruso’s suite was the one atop the front of the hotel, which faced Eagle Street. The hotel, which had one-thousand rooms, was still new at that time; it had opened for business in conjunction with the Pan-American Exposition, which was held in Buffalo in 1901.
You performed at the Pan-American Exposition, correct?
Yes, I sang there in an exhibition called Venice in America, on the midway. I was nine years old, and was billed as “Baby Patti” or “Child Patti” in the [Buffalo] newspapers.
It was at the Pan-American Exposition, on June 13, 1901, that President William McKinley was assassinated. Do you recall anything about that tragic day?
The only memory I have is hearing adults around me saying very agitatedly, “The President has been shot! The President has been shot!” I was too young to know what “being shot” meant—and I also didn’t know what “president” meant, much less who the president was. When I asked my parents about it, they tried to explain to me that in the United States, the president was “the king.” Well, I didn’t know what a “king” was, so I just accepted the fact that someone important had been hurt in some way.
When you auditioned for Caruso, do you recall what you sang?
Yes, I sang “Caro nome.” Just the “Caro nome,” without the recitative. When I finished, Caruso patted me on the cheek and told my father, who came with me, that I had a very promising voice. He told us that I would have to study in Italy, and he said he would write a letter on my behalf to the great Teresa Arkel, asking her to accept me as a pupil. He did so, and about a year later, my father and I sailed to Italy. During the day, while I was at Mme. Arkel’s having my lessons, my father worked as a laborer.
Obviously, Caruso detected the youthful promise in your voice, just as he did several years later with the young Rosa Ponselle. Looking back, what do you think he heard in your voice that prompted him to refer you to Teresa Arkel?
Well, whatever he heard was not what Mme. Arkel heard! In his letter to her, Caruso had written that he believed my voice would become a mezzo-sopranone, or in English, “a great big mezzo-soprano.” When I sang for Mme. Arkel, however, she said that my voice would be fine for roles like Lucia, Amina in Sonnambula, and Adina in Elisir d’amore, which require an exceptional top. And I had one, too. By the time I left Mme. Arkel, I could sing the G above high-C effortlessly. But vocally, I was certainly not going to be singing Mamma Lucia in Cavalleria rusticana.
When you were studying in Italy, was Caruso as famous there as he was in the U.S.?
Actually, no. His recordings were well-known, of course, and hence his name was well-known, but since 1903 he had been at the Metropolitan Opera, not La Scala or one of the other houses in Italy. The tenor who was admired when I was studying in Italy—not just admired, but adored—was Giuseppe Anselmi. He was as famous there as Caruso was in the United States.
Anselmi, whom I heard several times, had a gorgeous voice and a perfect technique, and was also extraordinarily handsome. Anselmi was “all the rage,” so to say, as was Maria Galvany among sopranos. It was Galvany, not Melba, who was adored in Italy, yet in America she was almost unknown other than on recordings.
A great tenor who sang during Anselmi’s time, and whom some historians claim was the equal of Caruso in certain roles, was Alessandro Bonci. Did you see Bonci, and if so, what was your assessment of him?
The distance between Caruso and Bonci as tenors was about the size of the Grand Canyon. They had nothing at all in common, either vocally or as men. In Italy, it was rumored that Bonci was an unethical person. He had played some part in obtaining a forged letter from Verdi, giving Bonci supposed permission to sing the “È scherzo od è follia” in a unique way. I heard a recording of it, and Bonci’s performance was different yet acceptable. But he was still in disrepute because he had paid someone to forge the letter from Verdi.
Personally, I saw Bonci as Faust in Boito’s Mefistofele, in which he was wearing an over-stated costume topped by a large hat with an even larger feather protruding from it. Frankly, he looked silly on the stage. Vocally, his singing was pleasant enough, and it reminded me somewhat of Lauri-Volpi because both of them had exceptional high ranges. But Lauri-Volpi was handsome onstage, whereas Bonci was a feather-bearing little man in an overdone costume with high-heeled boots.
Alessandro Bonci, 1910
Earlier, you mentioned having sung with Edward Johnson in Pagliacci at the Met. When Johnson’s name is mentioned in connection with the Metropolitan Opera, it is usually in reference to his tenure as General Manager, not as one of its significant tenors. Do you recall the first time you heard him sing?
Yes, in Italy in 1910. I sang with him there in Elisir d’amore. At the time, he was singing under the Italianized name “Edoardo di Giovanni.”
Where in Italy did you make your debut?
My very first performance on an opera stage was as the hidden “forest bird” in Siegfried, at the Teatro Dal Verme. Tullio Serafin, who was young and handsome—his hair was brown and thick in those days—had come to Mme. Arkel to ask if she had a pupil who could sing the part. She told him that I could do it, and I did—I sang it hidden in a papier-maché “tree.” Giuseppe Borgatti was the star of the performance.
I was also in the premiere of Der Rosenkavalier at La Scala on March 1, 1911, which was led by Serafin. The cast included Lucrezia Bori in the breeches role of Octavian, Ines Maria Ferraris as Sophie, and Pavel Ludikar as Baron Ochs. During one of the curtain calls with the full cast, I held Strauss’s hand.
At the Met, Lucrezia Bori and Edward Johnson were famously paired as Romeo and Juliet. But you knew both singers in Italy a decade before you made your Met debut?
Bori and Johnson were perfect for each other in Roméo et Juliette. And, yes, I sang a number of performances with Johnson at the Met. But his best partner among sopranos was Lucrezia Bori, not Nina Morgana. I’m sure you have heard recordings of Bori, but have you seen photographs of her?
Yes, mostly studio portraits but a few candid ones, in various books about the history of the Met.
Most of her publicity photos were taken [of her] in profile, or else at an angle, rather than facing the camera lens. She had an ocular condition called strabismus, which lay people refer to as having a “lazy eye” or, less kindly, as “cross-eyed.” When she was relaxed, Bori’s right eye would tend to drift toward her nose. My brother, Dante Morgana, a premiere ophthalmologist and surgeon, gave her exercises to train the muscles of her right eye to keep the eyeball centered.
Lucrezia Bori (G. G. Bain Collection, Library of Congress)
Although fate deprived you of the opportunity to sing Pagliacci with Caruso, you sang not only Nedda but other major roles with almost all of the legendary tenors who inherited Caruso’s repertoire.
My best roles were Nedda in Pagliacci, Micaela in Carmen, and Musetta in Bohème. Although I also sang Mimì in Bohème, [General Manager Giulio] Gatti-Casazza said that I was not only better as Musetta, but that I was the best Musetta of the several sopranos who sang the role under his management.
Do you recall some of the casts in your performances of those operas?
I sang my first Micaela in Carmen with Giovanni Martinelli and Miguel Fleta alternating as Don José, and with José Mardones as Escamillo. I know of no other basso profondo who could sing Escamillo—later, Pinza sang it, but his voice was a less powerful lyric sound compared to José Mardones. But Mardones’ range was so marvelous that he could sing Escamillo easily and convincingly. In some of my performance in Pagliacci, Antonio Scotti sang Tonio and the “new boy,” Lawrence Tibbett, was Silvio.
In the 1924-1925 season, in a new production of Tales of Hoffmann, I sang the part of the mechanical doll Olympia, with Miguel Fleta as Hoffmann. In that production, Bori sang the roles of Giulietta and Antonia, and she did them with great distinction. Later, Queena Mario sang Antonia, but with no distinction at all.
Perhaps you know that Queena Mario’s birth name was Helen Tillotson, a perfectly fine name. She claimed that [conductor and coach Wilfrid] Pelletier, to whom she was married, had suggested the ridiculous name “Queena,” but I think she made it up herself. I used to make her mad by asking, “If you have a brother, is his name Kinga?”
You sang several times with Giovanni Martinelli, who, perhaps with the sole exception of Caruso, seems to have been beloved by everyone, even by the other great tenors of that era.
I sang Eudoxie in the revival of La Juive with Martinelli as Eléazar, Leon Rothier as the Cardinal, and Rosa Ponselle as Rachel, the role she had created [at the Met] with Caruso in 1919. In fact, other than Martinelli singing Eléazar in place of Caruso, the revival had almost the same cast as the [Met] premiere. Ponselle sang most of the performances, but not all of them. Florence Easton sang several Rachels, as did Elisabeth Rethberg later.
Among the other great tenors of that period, I sang with Giacomo Lauri-Volpi for the first time in Rigoletto in 1926, with De Luca and Mardones. For that performance, with Gatti-Casazza’s consent, I made a change in Gilda’s costume: I wore a pink gown in the first scene. I also sang with Lauri-Volpi in Africana, with Ponselle as Selika, and I sang with him again in Pagliacci in the 1929-1930 season. In Africana, Gigli was cast instead of Lauri-Volpi in several of the performances I was in, and Florence Easton replaced Ponselle in some of them. Most were conducted by Serafin.
Do you recall the tenors with whom you sang in Bohème?
As I said earlier, Musetta was one of my best and most frequent roles, and I was especially fortunate to sing several performances with Lauri-Volpi as Rodolfo [in 1932]. A few times, Rodolfo was sung by Martinelli. It’s not a role that one would immediately associate with him, but the color of Martinelli’s voice was light enough for it, and he restrained the volume of his clarion voice. I also sang some performances with Armand Tokatyan, who was a very fine tenor and deserves to be remembered better today.
I was also fortunate to be in the opera house on the opening night of the 1921-22 season, when Gigli sang Alfredo to Galli-Curci’s Violetta at her debut. I knew Galli-Curci before then. Both of us had sung in Chicago when Mary Garden was the general manager.
Mary Garden (G. G. Bain Collection, Library of Congress)
If one-half of the stories that have been told and written about Mary Garden are true, she must have been a formidable person.
Indeed, she was, but probably no more so than Melba or Patti before her. They ruled their kingdoms—and they made those kingdoms. No woman who achieved what Patti, or Melba, or Geraldine Farrar, or Mary Garden achieved, could have done so without enormous self-confidence. Mary Garden, at least as I knew her, was not imperious at all, but she knew very well what her value was.
She could talk about herself in a way that may sound conceited in the retelling, but from her standpoint it was simply a matter of fact. I remember walking to the Chicago Opera house with my sister Angie, who traveled with me, and seeing Mary Garden coming toward us. She stopped us and said, “Did you see my Carmen last night?” Not “How are you,” or “Wonderful to see you today,” but “Did you see my Carmen last night?”
We hadn’t seen it, so we said so. “You must see my next one,” she replied. “There is nothing like it, and there never will be.” She said that without a trace of haughtiness. It was as if she had said, “You should carry an umbrella tomorrow because it’s likely to rain.”
 The family of Nina Morgana, which comprised seven children, is remarkable not only for her success, but also her siblings’ successes. In addition to her brother Dante Morgana (who, as she mentions in the interview, became a nationally-known eye surgeon), her brother Emilio Morgana entered the priesthood and became a close friend of the friar-author Thomas Merton. Another brother, Charles Morgana (né Giuseppe Carlo Morgana), was an automotive inventor and a close associate of Henry Ford. His older sister, Angelina Morgana, followed their brother Dante into medical school, where she became the only female in her class in the Medical Department (as it was then known) of the University of Buffalo. She withdrew because of the harassment she experienced from the all-male faculty.
 Here Morgana’s normally precise memory has failed her: on the day of her Metropolitan Opera debut (Saturday, November 27, 1920) Caruso sang a matinee performance of La forza del destino, and hence was not “ill.”
© 2018 by James A. Drake. All rights are reserved. Short excerpts may be quoted without permission, provided the source and a link to this posting are cited. All other use requires prior written consent of the copyright holder. Please e-mail Mainspring Press with questions, comments, or reproduction requests for the author.
Photographs from the Library of Congress’ Bain Collection are in the public domain and may be reproduced without permission.
Coming in Part 2: Nina Morgana’s personal recollections of Caruso; Gigli’s premier at the Met; comparing the great tenors