Word: papageno
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Dates: during 1950-1959
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...second disappointment was the all-American cast. For once, the Met stage was peopled by young, handsome, slender performers. But their Juilliard-type excellence somehow did not thrill. Baritone Theodor Uppman tried hardest and succeeded best as Papageno, the comical birdman; partly thanks to Ruth and Thomas Martin's competent translation, he put across his role with almost Broadway-like punch. Soprano Lucine Amara (Pamina) sang beautifully, and Roberta Peters (Queen of the Night) did her bell-like best despite a cold. But Tenor Brian Sullivan (Tamino) was dry-voiced and stiff-backed; Basso Jerome Hines, while...
...that gave the new Flute its real magic. Mozart's mystical fantasy of free masonry unfolded among three Egyptian temple arches of flesh-pink, violet, cerulean blue, turquoise, cobalt and yellow. The middle arch was framed by black sketches of symbolic heads, and its opening revealed projected landscapes. Papageno was dressed in a brilliant green feather coat, brick-red vest and yellow trousers, while the chorus of priests appeared in explosive shades of orange...
...wasn't much interested in opera, but I thought it would be fun"), was more surprised than anybody else when he won. Since a contract with the company was part of the prize, "that sort of threw me into opera." He gradually worked into leading roles: Papageno in the Magic Flute, Golaud in Pelléas and Mélisande...