Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-04-21
OPERA SEASON
CLOSES WITH AIDA
Rosa PonSeIIe Is Magnificent
in Title Role of
Finale.

Giuseppe verdis Aida" one of the
few grand operas that has majesty
Of style and wealth Of musical content
as we'll as a plausible plot, based upon
human passions and intrigue between
rural governments, was fitting nnale
yesterday to the presentations IN WASH.
ington by the Metropolitan Grand
Opera Co. of New York.
In the title role, the young American
prima donna, Rosa Ponselle, was mag
nificent. Vocally, dramatically and pic
torially, she was a thoroughly satisfying
artist.
There are those who have heard
Ponselle sing the famous air. "Ritorna
Vincitor!" in concert. Never has 1t been
so dramatically presented as when she
sang it in the opera yesterday. The
composer was particularly gracious 10
his soloists in all their biggest airs In
this. probably his most popular opera,
and the heroine has her two biggest
moments in the singing OF this air at
the end of the first act and in the ex-
ouisite phrases of 20, Cieli Azzuri' in
the third act. Because vocally TINS role
is not so exacting as some OF the otheI
roles that Ponselle has mastered, ana
few, If any other singers OF today can
SlTlE. Tile yOuuS AuiO1ASuAA ~' ~~ON
. in New York in Aida"
To Make European Debut.
II was an added distinction for Wash
ineton to hear her superb presentation
of the role. At the conclusion OF tnlS
tour. Miss Ponselle sails for England
IN have her European debut at Covent
Garden. London, in Norma" ana also
tn he heard in La Gioconda."
Aida" is unique in being commas
stoned opera that did not sink into
oblivion even partially after its scheduled
y,renniere. but rather blaZed constantly
into fresh popularity, until at the con-
cI,Ision of the current Metropolitan
season in New York, including the tour
which has Atlanta, Ga. as the next
ston. this opera holds the record for
being given the most performances OF
anv one work during the "a weeks:
The opera was written by order OF the
Khedive of Egypt and given rrst per
Torrance In Cairo in December, iol;
tt is said that Verdi himself refused
tn he present in the first production,
vet it called forth highest praise from
a critical and distinguished audience
at that time.
Audience Applauds.
It also was a distinguished audience
which applauded even to the point OF
getting retaliating Kisses from some
over-ardent music lovers at yesterday
performance. when the applause burst
in on other than the traditional
moments when it might be expected.
The house was packed again, as on
Wednesday and Thursday nights.
second only to Ponselle was Giacomo
Iauri-Volpi in his Interpretation OF the
tenor role, Rhadames. He was in eX-
cellent voice, with resonant tones tnat
matched beautifully with Ponselles
powerful soprano in the duets. His
"Celesta Aida" was most acceptably
done and also the Isl! Fuggiam ia
oueste mural" in which Aida joins IN
the third act.
Marion Telva won prolonged per-
sonal appreciation from the audience
for her singing in the first scene OF
the last act. She brought fresh ORA
matte Interpretation Of much power to
her delineation of the role of the proud
and passionate daughter OF Pharaon
Amneris. Her rich contralto blended
admirably with the tenor and soprano In
the trio of the first act.
D'Ange!o Is Impressive.
Louis d'Angelo was impressive as the
King and Giuseppe Danise was an et-
fective Amon.sro, though his voice was
somewhat light for balance with the
other soloists. Mr. Danise sang this
role instead of Basiola, who changed
places with him in the operas presented
here. singing Tonic in II Pagliaccf"
Thursday night. Ezio Pima was par
ticularly good Ramfis and Alto Tedesco
was adequate in the role OF the Mes
senger. Aida Doninelli, the Guatemalan
soprano, sang the invisible but ex-
tremely effective part Of the Priestess
excellently.
The orchestra, under Tullio Serafin,
one of the leading maestros of opera
in the world, was colorful and powerful
in supplementing the singing. There
were a few of the softer moments OF
song. especially when Miss Telva was
singing, when the orchestra threatened
to drown her voice, but most of the
time even the sofest passage, especially
in Ponselles singing, was clearly audible
above the orchestra.
Harp Adds to Beauty.
The unaccompanied passages in the
beautiful Oriental style of the Egyptian
temple chant, "Possente Ptah" were
highly effective. Other portions with
harp accompaniment of stage, added to
. the mysterious beauty Of a remarkably
lovely scene.
Although the program did not men
ton the designer of the settings for this
production, the indication was that
they were designed by Joseph Urban.
They were quite the most ambitious
of any shown in Washington this sea-
son and added greatly to the beauty of
the opera as whole. The ballet in the
temple scene was charming. The
dancers also presented the more viva
cious number in the triumphal march
scene with unusual grace asd effective
ness. Rita de Leporte won deserved APP
plause for her solo on the latter oc-
casion. The chorus, too, was at its
best in this opera. The mems chorus
was particularly convincing in the
hume, custode vindice," begun as a
solo by Rhadames when he accepts his
sword with an oath to win over the
Nvhiopians.
Prom every point of view, Aida" was
quite the dominant success Of the pro-
auctions given here. This Verdi opera
stirred the large audience afresh to
amazingly deep-seated enthusiasm with
its superlative fine production. H. H.