[Met Performance] CID:101870



Aida
Metropolitan Opera House, Wed, March 13, 1929




Aida (341)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Leonora Corona

Radamès
Frederick Jagel

Amneris
Julia Claussen

Amonasro
Giuseppe De Luca

Ramfis
Ezio Pinza

King
William Gustafson

Messenger
Giordano Paltrinieri

Priestess
Aida Doninelli

Dance
Rita De Leporte


Conductor
Tullio Serafin







Review 1:

Review of Leonard Liebling in the American

LEONORA CORON'S 'AIDA' REVEALS HER GREATLY IMPROVED

American singers at the Metropolitan Opera House have a way of rarely being self-satisfied. They use success as encouragement for further study and higher artistic effort. Improvement seems to be their constant ambition. Only infrequently does one of our native lyric artists stand still, granted the vocal material and singing talent sufficient to lead on to better things. To prove the point one has only to remember how few Italian or French artists even have graduated into Wagnerian ranks and how many Americans have done so after beginning their careers in the operas of the lighter schools.

These reflections crowded in upon me last evening when I heard Leonora Corona in the title role of "Aida" and noted how she had forged ahead since her "Trovatore" debut here, in security of voice and delivery, resourcefulness in nuance and repose and dignity of acting. She gave a warmly appealing performance as the Ethiopian princess and moved her hearers to demonstrations of sincere enthusiasm. Miss Corona adds to her other excellent stage qualities also comeliness of features and commanding stature.

Frederick Jagel is another home product who proved the moral of this thesis. He has appreciably broadened his conception of Radames and he throws himself and his voice into the breech with a degree of self-reliant passion that was sorely missed in his early essays at the Metropolitan. He, too, scored decisively last evening.

Julia Claussen repeated her admirably composed and fervently sung Amneris, the Ramfis and Amonasro, respectively, were Ezio Pinza and Giuseppe de Luca, and that is enough said. Tullio Serafin, always intensely in the spirit of everything he conducts, made the "Aida" score sparkly and blaze in the ideal Verdian manner.



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