[Met Performance] CID:121100



Aida
Metropolitan Opera House, Mon, March 15, 1937




Aida (412)
Giuseppe Verdi | Antonio Ghislanzoni
Aida
Dusolina Giannini

Radamès
Arthur Carron

Amneris
Rose Bampton

Amonasro
John Charles Thomas

Ramfis
Ezio Pinza

King
Norman Cordon

Messenger
Giordano Paltrinieri

Priestess
Thelma Votipka

Dance
Daphne Vane

Dance
William Dollar


Conductor
Ettore Panizza







Review 1:

Review of Irving Kolodin in the Sun

Carron Replaces Martinelli in 'Aida'

The opera season entered on its final fortnight with a performance of "Aida" last night. In addition to Arthur Carron, who replaced the indisposed Giovanni Martinelli as Radames, the cast included Dusolina Giannini (whose only previous appearance had been in a similar emergency) as Aida, Rose Bampton, John Charles Thomas and Ezio Pinza.

This was Mr. Carron's second appearance in this opera, for he had replaced another stricken colleague at the Saturday evening performance of a week ago. His big, metallic voice is apt for the role and he is also sufficiently stalwart (if not precisely muscular) to suggest an Egyptian warrior. However, his performance was more remarkable for the robustness of his tones than it was for finesse, for Mr. Carron has not yet acquired an ability to carry his one constant voice color or to sing a phrase less than full voice. The notes of the part were creditably negotiated, with generally good intonation, but little of his singing had more than sheer vocal strength to commend it. It was plain, too, that his knowledge of the text was less than wholly secure.

The other principals are all familiar in the roles they assumed last night, and the dramatic current of the opera was well maintained. To Miss Giannini's credit might be entered some of the finest singing of the performance, especially in "Patria mia" where she was content to let her tones form the line of the music without forcing or over intensification. Miss Bampton's Amneris was more pointedly dramatic than it had been in the past, although many opportunities remain unimproved and much of her music was beautifully sung. Mr. Thomas' barbaric Amonasro and the excellent High Priest of Mr. Pinza were of their usual worth. Norman Cordon was the King and Thelma Votipka the invisible priestess. Mr. Panizza directed incisively and with relevant vigor.



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