Metropolitan Opera Archives

Patané was in the pit for a vital "Aida," but one that had its erratic, indulgent moments as well. Pacing, physical energy and clarity did give his Verdi remarkable quality, and the orchestra played with sheen and gusto. Except for a flatted B-flat at the end of "Celeste Aida," Carlo Bergonzi sang a Radames of rare artistry, with superb phrasing, taste and care for words, his voice youthfully clarion in its ring. Gilda Cruz-Romo seems to be developing more metal in her tone, making the fortes more and more clangorous, but she retains lyrical beauty in her unforced high pianissimos. The soprano handled her music with sincerity, but putting excessive weight into the middle and low ranges has taken its toll. Her acting has assumed a good deal of mannerism, so that her agonizing comes across in silent-movie fashion. Mignon Dunn's Amneris now so overemphasizes everything that it ends up by meaning nothing, her mezzo emerging loud and swallowed in tone for the most part.

Louis Quilico's Amonasro sounded wooden, but Jerome Hines commanded the stage as Ramfis and John Cheek filled out the King's lines nicely.

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