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[Met Performance] CID:183810
Aida
Metropolitan Opera House, Thu, January 14, 1960
Aida (634)
Giuseppe Verdi | Antonio Ghislanzoni
Review 1:
Review of John Ardoin in Musical America
Christa Ludwig's first Metropolitan Amneris was the high point of this performance. Miss Ludwig has two decided advantages — she is youthful-looking and her voice is fresh and flexible. Though her top A's were not always as full as her middle voice they were produced smoothly and without strain. She tended to substitute somewhat exaggerated histrionics for character delineation, but even her stalking about the stage in the judgment scene was charged with excitement. Her voice was full and flowing in the beginning of Act II, and soared brilliantly later in the duet with Aida.
Norman Scott appeared in his first Ramfis of the season but was not in good voice. He sang with little of the warmth that usually characterizes his voice. Cornell MacNeil was a superb Amonasro, and the balance of the cast included Lucine Amara, Dimiter Uzunov, Ezio Flagello, Robert Nagy, and Helen Vanni. Fausto Cleva conducted. Many in the audience displayed bad manners by trooping out in streams during the final scene, which was unfair to patrons more interested in hearing the music than beating the rush to the subway or the cloakroom.
Search by season: 1959-60
Search by title: Aida,
Met careers
Aida
Metropolitan Opera House, Thu, January 14, 1960
Aida (634)
Giuseppe Verdi | Antonio Ghislanzoni
- Aida
- Lucine Amara
- Radamès
- Dimiter Uzunov
- Amneris
- Christa Ludwig
- Amonasro
- Cornell MacNeil
- Ramfis
- Norman Scott
- King
- Ezio Flagello
- Messenger
- Robert Nagy
- Priestess
- Helen Vanni
- Dance
- Lolita San Miguel
- Dance
- Thomas Andrew
- Dance
- Donald Martin
- Conductor
- Fausto Cleva
Review 1:
Review of John Ardoin in Musical America
Christa Ludwig's first Metropolitan Amneris was the high point of this performance. Miss Ludwig has two decided advantages — she is youthful-looking and her voice is fresh and flexible. Though her top A's were not always as full as her middle voice they were produced smoothly and without strain. She tended to substitute somewhat exaggerated histrionics for character delineation, but even her stalking about the stage in the judgment scene was charged with excitement. Her voice was full and flowing in the beginning of Act II, and soared brilliantly later in the duet with Aida.
Norman Scott appeared in his first Ramfis of the season but was not in good voice. He sang with little of the warmth that usually characterizes his voice. Cornell MacNeil was a superb Amonasro, and the balance of the cast included Lucine Amara, Dimiter Uzunov, Ezio Flagello, Robert Nagy, and Helen Vanni. Fausto Cleva conducted. Many in the audience displayed bad manners by trooping out in streams during the final scene, which was unfair to patrons more interested in hearing the music than beating the rush to the subway or the cloakroom.
Search by season: 1959-60
Search by title: Aida,
Met careers