Metropolitan Opera Archives

The Metropolitan Opera Association paused in Bloomington Monday night long enough to present "Aida" to an audience that filled the Indiana University Auditorium to capacity. This is the first time that a major company has sung in this vicinity for a great many years. Rumor has it that, because of the enormous success of Monday night's performance, the "Met" will be engaged for at least one annual performance, if not more.

One hopes so. "Aida," of course, is certain of success, because it is highly spectacular and dramatic from beginning to end. It also has the advantage of containing some of Verdi's best and most popular arias. It is sung so often that is was long ago classed as a "war horse." None the less, no amount of repetition can spoil the loveliness of Aida's "Nile" aria, or the excitement of the remainder of the third act, or the exquisite duet that closes the opera. Every one, naturally, waits for the Triumphal Scene, which assuredly was striking to look at Monday, as well as to hear, for the Auditorium stage is large, and it was filled not only with singers, but also with "supers" obviously commandeered from the university student body.

Rose Bampton sang the title role, and sang it excellently, although she is not one of the great Aidas. Her voice has not the requisite richness, the requisite dramatic quality. Her singing is good to hear, for it is intelligent and adroit singing. And Miss Bampton is a good actress. Furthermore, she is doubtless the most beautiful Aida you are apt to see.

The Amneris of Bruna Castagna was superbly sung. Here was the needed intensity. Leonard Warren, as Amonasro, had intensity, too, as well as fine voice, a much better voice, in fact, than one had suspected from hearing on the air. Arthur Carron was suffering from a cold, and his voice which had richness and fullness in the beginning became a bit rough-edged in the closing duet and he had to resort to "forcing" as the singers say.

The performance as a whole (since its flaws were minor ones) was rousing, as it should be. Verdi understood the necessity of threatricalism as he understood the necessity of writing opulent arias for the singers. "Aida" has every element in it to capture the attention, not only of the novice operagoer, but also of the hardened listener. Verdi may seem naïve, now and then, but he is undeniably effective.

Wilfred Pelletier directed with fervor and with taste. If this was a beginning of annual appearances of the "Met," it was an auspicious beginning.

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