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The new season came into its own in a matinee performance of "Aida," with Renata Tebaldi in the title role. A high level of singing throughout the performance easily set it above other offerings of the first week. Mme Tebaldi's Aida was striking in makeup, artistic in characterization, and superb in vocalism. She helped crystallize the idea of making opera grand. Mario Ortica made a satisfactory debut as Rhadames, without conveying any special distinction. Blanche Thebom scored a personal triumph as Amneris. Ettore Bastianni excelled as Amonasro, Giorgio Tozzi as Ramfis. Fausto Cleva conducted a firm, sonorous performance. The debut of Carmen de Lavallade aroused interest in the ballet, which has become a significant part of this production.

Review 2:

Review of Winthrop Sargeant in the New Yorker

Following the [start of the season] a night performance of "Les Contes d'Hoffmann," the Metropolitan Opera settled into its customary stride, and I can report that the first two weeks of its season contained some rather good performances. One was "Rigoletto," a week ago last Thursday, in which Leonard Warren proved again that he is the most refined and convincing singer in this vicinity who is currently portraying its taxing and tragically moving title role; another was "Aida," a week ago last Saturday, in which Renata Tebaldi sang the role of the Ethiopian slave girl for the first time here, and turned out to be one of the most effective - and certainly one of the handsomest - Aidas to have been seen and heard at the Metropolitan in many years. Both operas are among the Met's most lavish and spirited productions at the moment, and though the rest of the singing was not always up to the admirable standard set by Mr. Warren and Miss Tebaldi, both had enough gusto and fervor to qualify as rewarding experiences. As for Miss Tebaldi's vocal prowess, which brought down the house more than once during the afternoon, I have some reservations. To my mind, she has a tendency to rely on theatrical mannerisms rather than on the expression of sincere emotion, but her voice is a powerful and often a beautiful one and her Aida was, in my opinion, her most satisfying performance to date. As Amneris in the same production, Blanche Thebom turned in her usual quite affecting interpretation, and I thought that the Amonasro of Etorre Bastianini was something altogether special - vigorous and commanding without anywhere degenerating into bathos. A new Italian tenor, named Mario Ortica sang the part of Radames creditably though without any particular distinction.

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