"AIDA" MET 11/30/57, Curtis-Verna, Bergonzi, Dalis, Merrill, Tozzi, Sgarro, Nagy, Cleva

Aida: Mary Curtis-Verna
Radames: Carlo Bergonzi
Amneris: Irene Dalis
Amonasro: Robert Merrill
Ramfis: Giorgio Tozzi
King: Louis Sgarro
Messenger: Robert Nagy
Priestess: Helen Vanni
Conductor: Fausto Cleva
Milton Cross Announcer
Act One 0:00
Act Two 39:45
Act Three: 1:20:12
Act Four 1:50:20

[@petergraham8681]

Although in the shadow of Milanov & Tebaldi, at this time, this artist would be much welcomed at the MET these days. Later she chaired the voice dept. at the University of Washington in Seattle & after retirement lived there until she passed away in 2009. With the availability of LIVE performances it has been possible to appreciate her singing since she made few studio recordings. A mid 1960s LA GIOCONDA performance with Corelli from Philadelphia is a case in point. Curtis-Verna‘s technique is perhaps more secure than, say Tebaldi‘s by this point without a unique individual timbre that many of the star sopranos had that set her apart from some of them. Hers is nevertheless a solid & ever reliable & lovely sound on all the off the air performances that I have heard. She seems not to have sung a great deal upon leaving the MET before beginning teaching at the U of W but I could be wrong about this. She did little or no singing once she started teaching although still only in her late 40s. I only heard her once live in 1975 when she sang the soprano solos in Beethoven’s 9th at the formal opening of Meany Hall on the U of W campus. I do have to say that her ascent to that dangerous moment here above in O PATRIA MIA is, perhaps due to nerves (?), a bit awkward & she does seem to cut the high C short for whatever reason. Checking other performances both her studio AIDA from 1956 & a 1965 live MET tour performance in Cleveland show no awkwardness at all so that 1957 AIDA may have nerves or a momentary indisposition. Who knows? Anyway both Milanov & even Tebaldi sometimes had the same uncertainty in how to handle this moment. Otherwise Curtis Verna gives much pleasure in her singing & that Live GIOCONDA in 1964 is especially effective.
😊

[@walteranibal8425]

In what way is Mary Curtis Verna's technique superior to Tebaldi? How can you write such a thing?
First of all, Tebaldi does not have an individual timbre, but Tebaldi's voice is the richest soprano voice, that is why it has individuality and secondly, Tebaldi's voice has core, it was very big. Apart from talking about technical things, how can you say that Curtis Verna has better technique than Tebaldi? Tebaldi became the best Italian soprano of the entire last century, for having an exceptional voice and for having great technique.
What do you call "technique", sir? Tebaldi has a strongly supported voice, a perfect appoggio technique, a homogeneous voice throughout the range, she has a very wide dynamic range, capable of going from the most ethereal pianissimo to the most powerful fortissimo, a perfect vibrato, she has no irregular vibrations in the high notes.
Mary Curtis Verna as a technician is an amateur next to Tebaldi. Mary Curtis Verna is a singer with zero dynamics, she has no variety in the intensity of sound, and has a small and an unsupported voice.
And as vocal material and as artistry, phrasing Mary Curtis Verna is absolutely anonymous.
You are so concerned about the C of O patria mia, the one that Mary Curtis Verna exhibits here is very bad

[@vanmusician]

She sang Lady MacBeth here in Vancouver in the mid 60s, replacing Irene Dalis at short notice. I remember how dark her voice sounded - appropriate for that role.

[@promptersbox]

Spot on comments. Thank you!

[@omarsomehow69]

I didn't remember Curtis - Verna to be quite good. She had a color for Aida, so are pp's. Interesting.

[@mohsenarambon]

👍🙏💯

[@massimoiapichino6257]

Bergonzi stellare

[@09lohengrin]

Oje, "fff" am Ende von Celeste Aida statt des vorgeschriebenen "morendo"...............