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[Met Tour] CID:156800
Il Trovatore
Fox Theatre, Atlanta, Georgia, Mon, April 23, 1951
Il Trovatore (262)
Giuseppe Verdi | Salvatore Cammarano
Review 1:
Review of Helen Knox Spain in the Atlanta Journal
The 1951 Metropolitan season got off to a magnificent start with Verdi’s “Il Trovatore” on Monday evening at the Fox Theater. The vast audience arrived in festive mood. The theater was filled to capacity with not one spot left for late standees.
The festive mood lasted throughout the eight scenes of the four acts of the melody-filled opera of Aragon and Biscay. The enthusiasm was at high pitch with much hand-clapping and shouted “bravos.” Four and five curtain calls were given the stars at the end of each scene. It was an open*ing night long to be remembered – recalling the brilliant “golden age” of singers and opera.
Zinka Milanov was Leonora the noble lady-in-waiting in the court of Aragon; Kurt Baum, the troubador, an officer in the Biscay service; Francisco Valentino, Count di Luna, a nobleman of Biscay; Blanche Thebom, Azucena, the gypsy woman; Nicola Moscona, Ferrando, captain of the palace guard; Lucine Amara, Inez, companion to Leonora. It was a dazzling array of stars, each giving dramatic portrayals of roles and singing with the vibrant color of true art.
The mass-scenes were resplendent with soldiers, gypsies, nuns and attendants, frequently appearing as the chorus. The personnel was of young singers with the vigor never before shown here by a “Met” chorus.
In the pit sat the 92-piece orchestra playing the score superbly under the poised baton of Alberto Erede. There was a new freshness of tone flooding from these men of the pit.
Milanov, a soprano endowed with a wonderful beauty of vocal art and histrionic power, made a living and beloved Leonora. Her arias were wrought with great sincerity. Her scenes with the Count and Manrico were marvelously dramatic. Her death scene just before the final curtain was one of the quiet throbs of a woman who loved fervently.
Thebom’s great mezzo-soprano voice never was heard at greater loveliness. She was convincing and appealing in the role of Azucena. Her acting in the scenes with Manrico mounted to dramatic heights. Her avenged moment at the opera’s closing was emotionally stirring.
Baum, the tenor, gave full force of his colorful vocal quality. His acting of Manrico was done with a fervent and tender love for his Leonora and Azucena.
Valentino the baritone, with a voice of resonant beauty and sensitiveness of character portrayal, made the Count a colorful and dynamic figure. His was a commanding figure in each of his scenes with Leonora, Manrico and Azucena.
The supporting cast of Moscona and Amara in the roles of Ferrando and Inez were done in excellent singing form and acting.
The opera ended with six curtain calls for the stars.
Search by season: 1950-51
Search by title: Il Trovatore,
Met careers
Il Trovatore
Fox Theatre, Atlanta, Georgia, Mon, April 23, 1951
Il Trovatore (262)
Giuseppe Verdi | Salvatore Cammarano
- Manrico
- Kurt Baum
- Leonora
- Zinka Milanov
- Count Di Luna
- Frank Valentino
- Azucena
- Blanche Thebom
- Ferrando
- Nicola Moscona
- Ines
- Lucine Amara
- Ruiz
- Thomas Hayward
- Messenger
- Paul Franke
- Gypsy
- Lawrence Davidson
- Conductor
- Alberto Erede
Review 1:
Review of Helen Knox Spain in the Atlanta Journal
The 1951 Metropolitan season got off to a magnificent start with Verdi’s “Il Trovatore” on Monday evening at the Fox Theater. The vast audience arrived in festive mood. The theater was filled to capacity with not one spot left for late standees.
The festive mood lasted throughout the eight scenes of the four acts of the melody-filled opera of Aragon and Biscay. The enthusiasm was at high pitch with much hand-clapping and shouted “bravos.” Four and five curtain calls were given the stars at the end of each scene. It was an open*ing night long to be remembered – recalling the brilliant “golden age” of singers and opera.
Zinka Milanov was Leonora the noble lady-in-waiting in the court of Aragon; Kurt Baum, the troubador, an officer in the Biscay service; Francisco Valentino, Count di Luna, a nobleman of Biscay; Blanche Thebom, Azucena, the gypsy woman; Nicola Moscona, Ferrando, captain of the palace guard; Lucine Amara, Inez, companion to Leonora. It was a dazzling array of stars, each giving dramatic portrayals of roles and singing with the vibrant color of true art.
The mass-scenes were resplendent with soldiers, gypsies, nuns and attendants, frequently appearing as the chorus. The personnel was of young singers with the vigor never before shown here by a “Met” chorus.
In the pit sat the 92-piece orchestra playing the score superbly under the poised baton of Alberto Erede. There was a new freshness of tone flooding from these men of the pit.
Milanov, a soprano endowed with a wonderful beauty of vocal art and histrionic power, made a living and beloved Leonora. Her arias were wrought with great sincerity. Her scenes with the Count and Manrico were marvelously dramatic. Her death scene just before the final curtain was one of the quiet throbs of a woman who loved fervently.
Thebom’s great mezzo-soprano voice never was heard at greater loveliness. She was convincing and appealing in the role of Azucena. Her acting in the scenes with Manrico mounted to dramatic heights. Her avenged moment at the opera’s closing was emotionally stirring.
Baum, the tenor, gave full force of his colorful vocal quality. His acting of Manrico was done with a fervent and tender love for his Leonora and Azucena.
Valentino the baritone, with a voice of resonant beauty and sensitiveness of character portrayal, made the Count a colorful and dynamic figure. His was a commanding figure in each of his scenes with Leonora, Manrico and Azucena.
The supporting cast of Moscona and Amara in the roles of Ferrando and Inez were done in excellent singing form and acting.
The opera ended with six curtain calls for the stars.
Search by season: 1950-51
Search by title: Il Trovatore,
Met careers