[Met Performance] CID:45870



Aida
Metropolitan Opera House, Wed, December 29, 1909




Aida (142)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Johanna Gadski

Radamès
Leo Slezak

Amneris
Louise Homer

Amonasro
Pasquale Amato

Ramfis
Adamo Didur

King
Giulio Rossi

Messenger
Angelo Badà

Priestess
Lenora Sparkes

Dance
Gina Torriani


Conductor
Arturo Toscanini







Review 1:

Review of W. J. Henderson in the Sun

SLEZAK AS RADAMES IN 'AIDA'

The Tall Tenor a Gorgeous Sight in Metropolitan Presentation

Leo Slezak robed in a tunic sparkled with gems made the most imposing Radames of recent years in last night's "Aida" at the Metropolitan Opera House. The Czech tenor towered over every one else on the stage, carrying his gigantic height with ease and dignity and looking every inch the intrepid, yet merciful, warrior of ancient Egypt. There was nobility in his aspect and a largeness of gesture and movement that attained the heroic without going beyond the scale of artistic effectiveness. In his acting of Radames the singer kept within the mood and picture of the drama, establishing the nature and limitations of the character and making a man of him. There was a refreshing absence of formula in his work and one felt the steady impulse of earnestness and initiative.

Mr. Slezak's singing of the Radames music was almost equally commendable. Without the advantage of an electrifying quality of voice, the tenor's tones showed again the gamut of color and intensity already disclosed in his performance of two other widely contrasted Verdian roles, Manrico and Otello. Expression was a foremost factor, without demanding any sacrifice of beauty. There was glowing warmth in his passionate outburst in the Nile scene and a fine continence in passages where it was appropriate. Mr. Slezak's phrasing was framed to fit the significance, textual and musical, of what he sang. Artistic purpose and sincerity underlay all that he did and the large audience made plain its enthusiastic appreciation of the new Radames.

In every other respect last night's" Aida" was familiar and, in most, it was excellent. Mme. Gadski, in the titular character, was not at her best until the Nile scene was reached; this music she sand well without the forcing of tone that marred her second act. It may be added that her orange colored makeup of face and arms was needlessly unbecoming. Mme. Homer was again at her best as Amneris and Mr. Amato was a vibrant and forceful Amonasro. Mr. Rossi's King was acceptable and Mr. Didur's High Priest showed less trembling of tone than before; there ought to be no such tentative utterances from this astute old Egyptian politician. Mr. Toscanini's conducting of the score was broadly authoritative.



Search by season: 1909-10

Search by title: Aida,



Met careers