Word: manone
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...Metropolitan Opera had two new productions ready to greet the opening of its 79th season last week-a lavish but disappointing Aïda and a modest Manon. Aïda succeeded in sharing some of the opening night glitter with its $50-a-seat audience, but it was plagued by the galloping vulgarity that now and then attacks the Met's production staff. Manon appeared with a blush three nights later and, despite troubles of its own, triumphed quietly...
...cohorts live up to the demands of the musical, but without any great distinction. Lester James finds the higher parts of the tenor lead somewhat too demanding and resorts to bleating on occasion. As Manon, Constance Lambert does well enough with a nebulous part. Lights, costumes, choreography, and the chorus each show professional handling. The musical director Robert Mandell deserves particular praise for the lush sound he gets out of his orchestra. At North Shore, the orchestra is located in a box-like enclosure that funnels out into the theatre, and this fact may account for the volume and fullness...
...Bliss. It was close to the 25th anniversary of the Metropolitan Opera Association, which Mrs. Belmont founded in order to bring great music to millions. After a ceremony in Bing's offices, Eleanor Belmont was presented to the Met audience between acts of a Saturday matinee performance of Manon...
...company not only has prepared two new productions, Il Trovatore and The Marriage of Figaro where sets, costumes and staging are all unfamiliar but also is presenting a revival of Manon, Massenet's work, which was last produced during the 1953-54 season. A new production requires at least three stage rehearsals with orchestra, sets, costumes and light. A revival of a difficult work like Manon is usually given three stage rehearsals with orchestra, two of these in full dress. However, this week, four operas return to the repertory from last year and these each require at least one dress...
...with operatic recordings gushing forth in unprecedented profusion, the life of a globetrotting soprano has taken on a frenetic quality that would have astounded the great voices of a more leisurely age. Tebaldi will sing 22 performances at the Met this season (Tosca, Cio-Cio-San, Mimi, Desdemona and Manon Lescaut), will then take a swing about the country on a recital tour, move on to Havana, Rome, Naples, then make her Paris Opera debut, go on to the Vienna Opera. July will be given over mostly to new recordings in Rome. Tebaldi's pace would probably be even...