Music: Second Spring

For the second time in its half-century, Manhattan’s Metropolitan Opera last week abandoned formality and opened a series of spring operas. Last year the spring season was called, half-apologetically, “experimental.” This year its future seemed firmer and it was listed simply as “popular-priced.” Three dollars again bought seats that in the winter sell for $7. Pianist Lee Pattison, recently appointed manager of the spring company, looked forward to the day when the Metropolitan would give performances all year round.

Though the Metropolitan’s headline singers are gone for the summer, last week’s young contingent successfully presented such operas as Faust, Il Trovatore and La Bohème. In Faust pretty Hilda Burke made a pathetic, simple Marguerite, used her small voice conscientiously but not tragically. Leon Rothier, a veteran Mephistopheles, had most assurance and most art. Good-looking Donald Dickson made his Metropolitan debut as Valentine. Even nervousness could not rob him of the strong, clear baritone and fine dramatic sense that first made scouts notice him when he was a Pennsylvania steelworker.

In La Bohème, Armand Tokatyan (Rodolfo) hit his top notes squarely but could not resist hanging on to them. Rosa Tentoni sang Mimi with more intelligence than warmth. Soprano Margaret Daum, who took the lead in Gian-Carlo Menotti’s recent Amelia Goes to the Ball, overacted impudent Musetta, won praise for her fluty, delightful singing.

Chief noveltv of the week was the Il Trovatore in which Rose Bampton sang her first soprano role at the Metropolitan. Since her debut in 1932 Miss Bampton has always been billed for contralto or mezzo roles. Last autumn she sang the exacting role of Leonora in Munich, Prague and Stockholm, but saved her U. S. soprano debut for the spring season. Audiences rejoiced that personable Miss Bampton was trustworthy in the high notes, could hit D without difficulty, would now be able to sing soprano heroines instead of old, villainous contralto women.