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It opened the Metropolitan Opera Association's 41st Atlanta season Monday evening at the Fox Theater, and thanks to a distinguished cast and Silvio Varviso's masterly conducting, it sounded every bit as handsome as it looked.

Not the same can be said, however, for the well-dressed audience. Between persistent chatter and ill-timed applause, it was touch-and-go there for a while whether Mr. Varviso would ever get the invasion of Egypt checked.

Tuesday at 8 p.m., Mr. Bing's welcome invasion will dispense with ruby-naveled belly-dancers and flashlight incense to expound the impecunious joys and sorrows of "La Boheme," but with the cast assembled for the occasion, it stands small chance of being a let-down. Renata Tebaldi, Franco Corelli and Jerome Hines head another diamantine Met cast, under Fausto Cleva's baton this time.

If Birgit Nilsson bowled over Atlanta when she opened our 1961 season in "Turandot," she was as brilliant Monday night and perhaps more expert in dispensing her great vocal riches. Memories would have to reach back to Milanov, Muzio, and Ponselle for such magnificent singing. In such company the well-endowed Rita Gorr had strong competition, though the Judgment Scene won her well-merited favor.

The Judgment Scene, as staged Monday night, tended to solve one of the eternal mysteries of the often puzzling plot. How did Aida contrive to get into the tomb where Radames is buried? A clue was provided in this instance, when Aida silently crossed the stage, as the scene opened, evidently headed at least in the general direction of her lover's final resting place.

The men in Aida's life were powerful influences Monday evening. Sandor Konya made an eloquent Radames; Cornell MacNeil a magnificent Amonasro; Ezio Flagello a Billy Graham of a high priest; John Macurdy a king indeed. Even in the minor roles, performances were good. Robert Nagy, as the messenger bearing evil tidings of invasion, performed as if he well understood the grim significance of the tidings he bore.

Thus this extravaganza of an opera was given not only spectacular but also thoughtful treatment. Mr. Bing came to the Met with the avowed intention of doing right by Verdi. This is his second restaging of "Aida," and it told an often unlikely tale with a nice tongue-in-cheek fancy and a wicked wink at probabilities.

Indefatigable "La Boheme" Tuesday evening will be the second of seven long-sold-out audiences to hear the Met's productions this season.

Search by season: 1963-64

Search by title: Aida,

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