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Yesterday it was Gino Penno who was stricken, the result being that Kurt Baum was called in on short notice to replace the returning Italian tenor in the season's first "Il Trovatore" last night.

Mr. Baum, who seems to have become chief pinch-hitter of the Met's male aviary, was in unusually good voice last night, which was all the more creditable considering that he was brought in on an emergency call.

If I have fluctuated in my judgment of this earnest artist, the fluctuation was in his voice, too. But there has always been a competent and dependable batting average about his singing. Last night it was considerably higher.

The tones had a solid ring. the phrasing was smooth, and the whole vocal and dramatic conception of Manrico had a great deal more impetus than he generally gives his roles. A "Bravo" for Baum!

It was a generally vital performance, this return of "Il Trovatore" after skipping a season - and what a treat to renew contact with this lavish outpouring of what have become household melodies!

As Leonora, Zinka Milanov seemed happy to be back in one of her most grateful parts, singing with large, warm voice and joining the turbulent cauldron of conflict as if to the manner born.

Leonard Warren gave the Count Di Luna the benefit of strong tone and stronger emotions, and both the Azucena of Jean Madeira and the Ferrando of Norman Scott added to the over-all attraction of the performance.

Fausto Cleva conducted as if he too were glad to have "Il Trovatore" back, while Kurt Adler's choristers sang as if they had been waiting hungrily for two seasons to get at "The Anvil Chorus" again.

Search by season: 1955-56

Search by title: Il Trovatore,

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