[Met Performance] CID:119520



Aida
Metropolitan Opera House, Wed, May 27, 1936




Aida (404)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Rosa Tentoni

Radamès
Sydney Rayner

Amneris
Bruna Castagna

Amonasro
Carlo Morelli

Ramfis
John Gurney

King
Norman Cordon

Messenger
Lodovico Oliviero

Priestess
Maxine Stellman

Dance
Daphne Vane

Dance
William Dollar


Conductor
Gennaro Papi







Review 1:

Review of W. J. Henderson in the Sun

'Aida' Is Sung at Metropolitan

Rose Tentoni, Mme. Castagna and Sydney Rayner Have Roles in Verdi Opera.

Verdi's grandiose opera "Aida" found its way into the repertory of the spring season at the Metropolitan Opera House last evening. It was heard and vigorously applauded by a numerous audience.

The presentation of the work was commensurate with its spectacular character. True, the scenery seemed to have shrunk in some places and the area of the stage appeared to have diminished, but there were enough people to fill it and to give something like an impression of the throngs who crowed the streets to see Radames return victorious over the Ethiopians. The brass band was there to blare in triumph and the American Ballet to pay tribute in the dance. Even the familiar white horses were on hand to express their disapprobation of the chariot of the conqueror by mildly kicking at the dashboard. And the "prisonieri Ethiopi" were the real thing from Harlem.

Rose Tentoni was the Aida and her voice proved equal to the demands of the ensembles, as well as to the general style of the airs and duets, but her delivery seemed to be founded on the theory that a vocal straight line was the shortest distance between two places and her singing was therefore generally deficient in elegance and without warmth. Mme. Castagna as Amneris sang well most of the time. When she did not have to give out her full voice she sang even excellently, with a rich tone and a smooth legato. She was not quite as savage about Aida as Amneris sometimes is, but nevertheless, there was no question that she regarded the slave with polite disfavor. Maxine Stellman delivered the measures of the unseen priestess with good tone and well-sustained phrasing.

Sydney Rayner was the Radames, a stalwart figure and a stalwart singer, who wasted no time with small delicacies, but published his thoughts in plain, blunt language, like Brutus, and who apparently thought that the best attack for a high tone was a vocal upper cut. But he sang generally in tune, and these days that is something to be recorded. Mr. Morelli was a restless and troubled Amonasro, but his voice was well suited to the music and his singing in the bolder passages was well planned. John Gurney was the Ramfis, not too powerful a leader of the opposition, but to be credited with a perfectly correct performance. Norman Cordon was perhaps every inch a king, but that is saying much. Mr. Cordon was probably the loftiest of the Pharaohs. He sang commendably and probably few kings can do that.

The members of the American Ballet contributed some variegated dancing to the spectacle and there was competent aid from the chorus. The orchestra served fairly well the purpose of the evening and Mr. Papi conducted with his customary consideration for every one on the stage. For a supplementary season at low prices it was a praiseworthy performance and a fair return on the investor's money.



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