Metropolitan Opera Archives

Aida received eight performances this season.
Angelo Parravicini was not credited as set designer, though the scenery was his, repainted by Joseph Novak.

Review 1:

Review of Robert Bagar in the New York World-Telegram

Sodero Conducts "Aida" for Debut

The Metropolitan Opera debut of Cesare Sodero, well-known conductor, was by all odds the most significant aspect of the season's first "Aida" on Saturday evening. The batonist, who had waited 35 years for the all-important event, took first honors of the evening by the not so simple expedient of being a true Verdian from start to finish.

There are schools and school of thought, from the macaronic to the sublime, on the conducting of this composer's music. But, of course, there is always the right way and Mr. Sodero seemed to be mighty concerned about that.

Much to Contend With

It might be reported at the outset that he had much to contend with, from time to time, with Arthur Carron's unmusical moments. The tenor, impersonating Radames, had the wriggly little trick of attacking just before or just after the beat. It took a coil spring watchfulness to keep pace with Mr. Carron's entrances. Mr. Sodero kept pace.

Zinka Milanov

Zinka Milanov, Yugoslav soprano, who had been absent from the roster for a season, enacted the name part. Considerably reduced in girth, the artist did some of her best singing in the Nile Scene. She still showed a tendency to force tone, though, and on more than one occasion she strayed away from the pitch.

As the Egyptian Princess, Karin Branzell, gave out lustily, if not always lusciously. Her conception of the role, however, made room for a serviceable intensity. Her work in the Trial Scene was dramatically and vocally effective. Mr. Carron's most opulent vocal contribution came in the same sequence.

Alexander Sved gave a generally persuasive account of Amonasro, even though he sometimes mistook bellowing for tones of authority. Norman Cordon supplied a Ramfis that was satisfactory on all counts. Maxine Stellman's voicing of the Priestess' lines had quality. The ballet did its stint well.

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