[Met Performance] CID:42160



Aida
Metropolitan Opera House, Sat, November 28, 1908 Matinee





Aida (127)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Emma Eames

Radamès
Enrico Caruso

Amneris
Louise Homer

Amonasro
Antonio Scotti

Ramfis
Adamo Didur

King
Enzo Bozzano

Messenger
Angelo Badà

Priestess
Lenora Sparkes

Dance
Gina Torriani


Conductor
Arturo Toscanini







Review 1:

Review of Aston Stevens in the Evening Journal

AN 'AIDA' MATINEE

The magnificent "Aida" of the first night was repeated at the Metropolitan yesterday afternoon, with practically the same cast, except Emma Eames in place of Emmy Destinn. While the new prima donna has her strong points, the performance did not lose by the substitution, since Eames is not only one of the few great voices still on stage, but her Aida is probably superior to all others, now that Nordica has retired. She was in fine form yesterday, and after the uneven merits of some of the newer claimants for the highest honor, her perfectly trained and perfectly pure lyric soprano was a joy. Also her personal beauty, even with the coffee-colored skin, was always in evidence, and what with the artistic costumes and the distinction she gave to them, one was able to understand on this occasion, as not always is the case, how Radames could prefer her dusky charms to the very real attractions of almost every Amneris.

Mme. Homer proved no exception to the rule that the King's daughter lures and holds you, if she does not the hero of the story; her superb contralto richly colored all the music in which she took part, and her fiery, as well as queenly impersonation, animated every scene - surely Homer is now attaining without question the rank for which her voice and temperament marked her out long ago. Caruso also was in excellent condition, if a bit queer looking, with his chin whiskers and his voluminous white robes. This is the one role of the older operas in which he appears to the greatest advantage, his luscious, powerful tones suiting the music, and his mature appearance harmonizing with the character. Rarely has he sung more effectively, except possibly in the concluding act of Cilea's "Adriana Lecouvreur," where invariably he carried all before him, and redeemed both the opera and Cavalieri. The concluding passages of that Italian music drama are to Caruso, so far as affecting his audience goes, worth more than all the Puccini output put together, whatever the composition may lack as a whole.

But it is no one singer or group of singers who make "Aida." It is the opera itself, the grandest of Verdi's, one of the grandest of modern times; and this season it is not only well sung, both as to chorus and principals, with an enlarged orchestra making a vast harmonic difference, but it is beautifully staged. With the exception of the second scene of the first act, the great temple scene, to which the former noble columns, perfect in their simple lines, should be restored, the present outfit being altogether too decorative, the pictures are wonders of beauty and truth. The scene at the Gates of Thebes was marvelous in its assemblage of all the arts, and when the chariot arrived, with the conquering hero, so perfectly was each phase built up to the gorgeous climax that the audience experienced thrill after thrill. As for the Nile scene following, that was a poem, a perfect transcription of the loveliness of Egypt, as were the others of its grandeur.

Toscanini is indeed an interesting conductor, full of the Latin verve and fire, with a strong and light touch at one and the same time. He is a musician of violent contrasts, his piano being almost a whisper, his fortissimo a crash of thunder, with a sudden jump frequently from one to the other. He has red blood in his veins, and he makes your own tingle, which is always a thing to be thankful for in these days of tepid emotions.

In the effort to eliminate draughts, the management seems to have converted the Metropolitan into a hotbox - one is almost in as much danger of asphyxiation as at the Manhattan, where all the microbes dwell and all colds start. Better the breeziness of the Brooklyn Academy which errs on the side of health, since wraps are always available, than such a sickening atmosphere as that now prevailing in the parent institution. But the immense audience was interested, and endured the atmospheric affliction with fortitude, as a rule sticking it out to the end.



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