[Met Performance] CID:161570



Aida
Metropolitan Opera House, Fri, January 9, 1953




Aida (557)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Zinka Milanov

Radam?s
Mario Del Monaco

Amneris
Fedora Barbieri

Amonasro
George London

Ramfis
Jerome Hines

King
Norman Scott

Messenger
Paul Franke

Priestess
Lucine Amara

Dance
Janet Collins


Conductor
Fausto Cleva


Production
Margaret Webster

Designer
Rolf G?rard

Choreographer
Zachary Solov





Aida received thirteen performances this season.

Review 1:

Review of Jay S. Harrison in the Herald Tribune
?Aida? at Met

Milanov, Barbieri, Del Monaco and London Heard

Giuseppe Verdi?s grandest of grand operas, ?Aida,? returned to the Metropolitan Opera House last night for the first time in its current season. As a concert of operatic airs it was in every degree superb, though as a genuine theatrical performance, it proved something of a loss. But how it was sung! And what a cast. Including, as it did, Zinka Milanov as Aida, Fedora Barbieri as Amneris, Mario Del Monaco as Radames, George London as Amonasro, and Norman Scott, Jerome Hines, Paul Franke and Lucine Amara and vigorously conducted by Fausto Cleva, the Met?s newly returned ?Aida? is required listening for all those who love the voice and revel in its ringing.

There was, to begin with, an eloquent, stately and powerful Aida in the person of Miss Milanov. She sang, in fact, as she has rarely sung before. Low tones echoed, high tones soared, and even in her middle range there was flexibility to her phrases and neatness to her pitch. Mr. Del Monaco also, after a throaty start, sang with that beauty, strength and poise that is the especial elegance of the Italian style. He held back not a whit and allowed his voice to throw itself full and vigorous into the hall. Its sound stampeded applause and it was all deserved.

No less colorful and even more perfect was the work of Miss Barbieri and Mr. London. The former, as is her pleasure, emitted contralto tones that in their heartiness brought to mind the richness of a well-trained basso, while the latter?s bass, in turn, proved as agile and weightless as the voice of a tenor. Together they offered a feast for the ear and set a standard not simple to duplicate.

As is only proper in a first-class vocal performance, the lesser roles were lesser solely in terms of their length. And the precision and warmth which the Messrs. Hines and Scott dispensed their lines everywhere matched in dignity the work of the featured players.

In view of the enormous success that characterized the Met?s vocal display, it is regrettable that the acting of all but Mr. London and the mise-en-scene in general was treacherously ineffective. There seems to be no one at our opera house who is able to teach a singer to walk across the stage without seeming to be caught in a in a subway rush. Lurching, staggering, bouncing and pouncing were the means by which the drama was served. It brought smiles where none should have been and titters at crucial moments. But those who closed their eyes and listened were carried to regions where only the Met can take us.


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