Met Opera Archives Search

When the Metropolitan Opera last visited the Lyric two years ago, a young American baritone named Leonard Warren replaced Ezio Pinza in a leading role [Escamillo in "Carmen"] and scored the outstanding success of that spring series. Last night the Metropolitan resumed its Baltimore visits with a performance of Verdi's "Aida," and it was again Leonard Warren for whom the rafters shook.

American born, American trained, he is a singer in the grand tradition. He has drama in his voice, in his stride and in the immense bulk of his body. He has power in his voice, too, and overwhelming volume of tone that loses none of its fine-grained quality in the massive plentitude of its full utterance.

Singer and Orchestra Triumph

He can, in contrast, spin it out in a fine line, with deft coloration of tone to fit mood and text. His portrayal of the Ethiopian king Amonasro was easily the main item of interest on the stage, although this should by no means minimize the work of Emil Cooper with the orchestra in the pit. Mr. Cooper conducts a live, zestful "Aida." He gets excellent tone from the players; he gets alert response from the chorus; he infuses the score with a vitality it frequently lacks.

Zinka Milanov sang the title role with Gallic grace. She was an attractive and persuasive Aida, singing the slave girl's eloquent lines with particular effect in the higher registers, where her voice frequently emanated an exciting timbre. The half whispered prayer with which the aria "Ritorna Vincitor" concludes , and which recurs later, were done with a nice pianissimo quality, though the earlier part of the first act aria was somewhat out of step with the orchestra. On some of her lower notes Mme. Milanov dips into a chest quality, as unlovely as it is unnecessary.

American Singers in Roles

A newcomer in opera here was Margaret Harshaw, a young American contralto, whose performance of the role of Amneris was impressive. Like Mr. Warren, she is a graduate of the Metropolitan's competitive auditions for young singers, and has developed vocal powers of considerable dimensions. The voice is heavy but rich, and her portrayal of the temperamental princess was well styled and effective.

Norman Cordon, another American singer, was excellent in the rather ungrateful role of Ramfis, the high Priest of Phth?. Osie Hawkins was an unregal King of Egypt, lacking the compelling quality of voice which this role, though small, must have.

Arthur Carron, a British tenor who sang here last in "Trovatore," three years ago, was something less than brilliant in a labored singing of the role of Radames. The ceiling on his range is quite apparent, and his historionism might have been fashioned with a coping saw.

Thelma Votipka, one of the Metropolitan's veterans, had the small role of a Priestess, sang the lovely offstage lines that accompany the devotions in the Temple Scene, and sang them with skill and a rich quality. Another bit role of a messenger was well done by Richard Manning.

Company Most Numerous

The company the Metropolitan brought to Baltimore for last night's performance was most numerous. The chorus was large and sang with a full-bodied tone and a ready response. The ballets were impressive for sheer size, though their routines were unpretentious. The stage settings were faded and apparently had seen considerable use.

Search by season: 1944-45

Search by title: Aida,

Met careers