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[Met Tour] CID:165620
Aida
Public Auditorium, Cleveland, Ohio, Thu, April 22, 1954
Aida (576)
Giuseppe Verdi | Antonio Ghislanzoni
Review 1:
Review of Elmore Bacon in the Cleveland News
“Aida” Great Show; Milanov Superb
A capacity audience of more than 9,000 was thrilled by the Met Opera’s new production of the ancient operatic war horse, “Aida,” decked out in new trappings and with a notably fine cast in the singing roles, last night at Public Hall.
And this new version of the Verdi masterpiece is spectacular and brilliant as well as always in keeping with the ancient Egyptian atmosphere.
The story of the unfortunate Ethiopian princess, captive of the Egyptians and her love affair with Radames, the Egyptian warrior, moved along swiftly under the experienced baton of Fausto Cleva. He kept orchestra and the massed choirs together expertly as well as marshalling the on-stage trumpeter and ballet into their rightful music spots.
And through it all the voice of Zinka Milanov singing the role of Aida, was superb. Blanche Thebom, who was the Carmen the previous day, came back with a vivid and beautifully voiced performance as Amneris, And George London as Amonasro, the captured Ethiopian King, gave a great demonstration of histrionic as well as vocal artistry.
The Radames of Kurt Baum, subbing for the ailing Gino Penno, was well portrayed. His singing was vigorous, but uneven. It often revealed beauty of tone, In impassioned moments it lost much of its velvet.
The Milanov Aida was not only a clever portrayal of the heartbroken girl forced to see her sweetheart wed a rival, but was singing right in the tradition. She was particularly thrilling in the scene with her father in the third act, her song to her country being a moving gem of artistry. The London voice was never more gorgeous than in this scene. There was power as well as dramatic fire in it. And a baritone glow that was moving.
Miss Thebom not only revealed extra power and tonal grandeur in her voice, but gave zest and action in the role of the King’s daughter. While some of this virility was somewhat at the expense of queenly dignity and aloofness, she presented the role with notable artistry.
Jerome Hines as Ramfis was a tower of strength and authority. Lubomir Vichegonov as the King, Paul Franke as the messenger and Margaret Roggero as the priestess contributed greatly to the general success.
The Margaret Webster staging of the work gave greater scope in the spectacular “return to Thebes” of Radames. An obelisk, tall palm-like standards and a raised platform for the king in the center made room for chorus, ranks and trumpeters at the sides.
The procession before the king was more spectacular than usual. The ballet, with Janet Collins as leader, was a remarkable feature with its speed, color and gorgeous costumes. The Temple scene was rearranged so that the chorus and dances faced the audience and the Nile scene featured a boat tied at the river dock. Amneris’ boudoir was backed by filmy curtains, but otherwise underwent little change.
And again we must say a word for the fine orchestra and for the expert direction of Kurt Adler who kept the whole spectacular work together successfully. Throughout, the audience demanded many curtain calls for the cast.
Review 2:
Review of Jim Frankel in the Cleveland Press
Thebom Adds “Aida” to Her Triumph
Her Carmen triumph scarcely a day old, Blanche Thebom returned victoriously to “Aida” last night and walked off stage with most of the honors.
To a show that was often listless and aimless, the former Canton secretary brought flashes of inspiration that made it obvious she is one of the towering talents of our day.
An accomplished actress, a dedicated artist and a thoughtful singer, Mezzo Thebom abandoned herself completely in the role of the stately and frustrated Egyptian princess. And as for beauty – as the Egyptians say, she was truly a sight for sore Isis.
Another “Ritorna vincitor” – triumphant return – was provided by Zinka Milanov in the title role. Not endowed with Miss Thebom’s histrionic prowess, she nevertheless projected all the drama necessary – grace, tenderness, power, pathos, dignity – through her pure soprano.
London is Awesome
George London’s Amonasro was an awesome thing. Like Miss Thebom, London is one of the finest interpreters in opera today. His imposing stage behavior and robust baritone were among last night’s saving features.
Indeed, the principals were so good that they almost infused Maestro Fausto Cleva with their zeal, such as in the war-whooping Act I. Almost.
It is a curious thing. The Met has spent thousands for the pretty new scenes, spanking new costumes, Broadway theatrical wizards, brilliant singers, a magnificent orchestra (the Met is one the nation’s best) and a solid chorus.
The what? When it picks a musical leader it stumbles and falls on its face.
Lacks Stature
Now Cleva is no incompetent. But he simply does not have the stature or drive to carry all this elaborate complex aggregation on his musical shoulders.
His direction lacked incisiveness. It was too often flabby, spiritless. It needed a shot in his arm.
So many times the audience beheld lavish stage pictures inspired by the incredible genius of Giuseppe Verdi. So many times the emotions were begging to be carried away. Too many times they were left in the lurch.
Take Act II’s Triumphal Scene. When the ballet left the stage the audience applauded during the music. But when the scene was over musically there was not one clap from the mammoth halls’ 10,000 hands.
Lauds Ballet Chief
This is the place to give young Zachary Solov his rightful credits. His bright choreographer’s expertly drilled ballet, led by Janet Collins, provided some of last night’s best moments.
Kurt Baum was a competent Radames but his tenor wasn’t heroically steady enough for my tastes. Jerome Hines in a last-minute assignment as Ramfis enriched proceedings with his solid basso.
Major contributions in minor roles were offered by Lubomir Vichegonov, the king, and Margaret Roggero, as the off-stage priestess.
Search by season: 1953-54
Search by title: Aida,
Met careers
Aida
Public Auditorium, Cleveland, Ohio, Thu, April 22, 1954
Aida (576)
Giuseppe Verdi | Antonio Ghislanzoni
- Aida
- Zinka Milanov
- Radamès
- Kurt Baum
- Amneris
- Blanche Thebom
- Amonasro
- George London
- Ramfis
- Jerome Hines
- King
- Luben Vichey
- Messenger
- Paul Franke
- Priestess
- Margaret Roggero
- Dance
- Janet Collins
- Conductor
- Fausto Cleva
Review 1:
Review of Elmore Bacon in the Cleveland News
“Aida” Great Show; Milanov Superb
A capacity audience of more than 9,000 was thrilled by the Met Opera’s new production of the ancient operatic war horse, “Aida,” decked out in new trappings and with a notably fine cast in the singing roles, last night at Public Hall.
And this new version of the Verdi masterpiece is spectacular and brilliant as well as always in keeping with the ancient Egyptian atmosphere.
The story of the unfortunate Ethiopian princess, captive of the Egyptians and her love affair with Radames, the Egyptian warrior, moved along swiftly under the experienced baton of Fausto Cleva. He kept orchestra and the massed choirs together expertly as well as marshalling the on-stage trumpeter and ballet into their rightful music spots.
And through it all the voice of Zinka Milanov singing the role of Aida, was superb. Blanche Thebom, who was the Carmen the previous day, came back with a vivid and beautifully voiced performance as Amneris, And George London as Amonasro, the captured Ethiopian King, gave a great demonstration of histrionic as well as vocal artistry.
The Radames of Kurt Baum, subbing for the ailing Gino Penno, was well portrayed. His singing was vigorous, but uneven. It often revealed beauty of tone, In impassioned moments it lost much of its velvet.
The Milanov Aida was not only a clever portrayal of the heartbroken girl forced to see her sweetheart wed a rival, but was singing right in the tradition. She was particularly thrilling in the scene with her father in the third act, her song to her country being a moving gem of artistry. The London voice was never more gorgeous than in this scene. There was power as well as dramatic fire in it. And a baritone glow that was moving.
Miss Thebom not only revealed extra power and tonal grandeur in her voice, but gave zest and action in the role of the King’s daughter. While some of this virility was somewhat at the expense of queenly dignity and aloofness, she presented the role with notable artistry.
Jerome Hines as Ramfis was a tower of strength and authority. Lubomir Vichegonov as the King, Paul Franke as the messenger and Margaret Roggero as the priestess contributed greatly to the general success.
The Margaret Webster staging of the work gave greater scope in the spectacular “return to Thebes” of Radames. An obelisk, tall palm-like standards and a raised platform for the king in the center made room for chorus, ranks and trumpeters at the sides.
The procession before the king was more spectacular than usual. The ballet, with Janet Collins as leader, was a remarkable feature with its speed, color and gorgeous costumes. The Temple scene was rearranged so that the chorus and dances faced the audience and the Nile scene featured a boat tied at the river dock. Amneris’ boudoir was backed by filmy curtains, but otherwise underwent little change.
And again we must say a word for the fine orchestra and for the expert direction of Kurt Adler who kept the whole spectacular work together successfully. Throughout, the audience demanded many curtain calls for the cast.
Review 2:
Review of Jim Frankel in the Cleveland Press
Thebom Adds “Aida” to Her Triumph
Her Carmen triumph scarcely a day old, Blanche Thebom returned victoriously to “Aida” last night and walked off stage with most of the honors.
To a show that was often listless and aimless, the former Canton secretary brought flashes of inspiration that made it obvious she is one of the towering talents of our day.
An accomplished actress, a dedicated artist and a thoughtful singer, Mezzo Thebom abandoned herself completely in the role of the stately and frustrated Egyptian princess. And as for beauty – as the Egyptians say, she was truly a sight for sore Isis.
Another “Ritorna vincitor” – triumphant return – was provided by Zinka Milanov in the title role. Not endowed with Miss Thebom’s histrionic prowess, she nevertheless projected all the drama necessary – grace, tenderness, power, pathos, dignity – through her pure soprano.
London is Awesome
George London’s Amonasro was an awesome thing. Like Miss Thebom, London is one of the finest interpreters in opera today. His imposing stage behavior and robust baritone were among last night’s saving features.
Indeed, the principals were so good that they almost infused Maestro Fausto Cleva with their zeal, such as in the war-whooping Act I. Almost.
It is a curious thing. The Met has spent thousands for the pretty new scenes, spanking new costumes, Broadway theatrical wizards, brilliant singers, a magnificent orchestra (the Met is one the nation’s best) and a solid chorus.
The what? When it picks a musical leader it stumbles and falls on its face.
Lacks Stature
Now Cleva is no incompetent. But he simply does not have the stature or drive to carry all this elaborate complex aggregation on his musical shoulders.
His direction lacked incisiveness. It was too often flabby, spiritless. It needed a shot in his arm.
So many times the audience beheld lavish stage pictures inspired by the incredible genius of Giuseppe Verdi. So many times the emotions were begging to be carried away. Too many times they were left in the lurch.
Take Act II’s Triumphal Scene. When the ballet left the stage the audience applauded during the music. But when the scene was over musically there was not one clap from the mammoth halls’ 10,000 hands.
Lauds Ballet Chief
This is the place to give young Zachary Solov his rightful credits. His bright choreographer’s expertly drilled ballet, led by Janet Collins, provided some of last night’s best moments.
Kurt Baum was a competent Radames but his tenor wasn’t heroically steady enough for my tastes. Jerome Hines in a last-minute assignment as Ramfis enriched proceedings with his solid basso.
Major contributions in minor roles were offered by Lubomir Vichegonov, the king, and Margaret Roggero, as the off-stage priestess.
Search by season: 1953-54
Search by title: Aida,
Met careers