![]() And it was as Aida that Price, a youthful 57, bade farewell to opera in general and to the Met in particular Thursday night. But Price set and sustained standards that made her a worthy, logical and utterly independent heir to the repertory of Rosa Ponselle and Zinka Milanov.Ī central challenge in that repertory, of course, is the role of Verdi’s Aida. ![]() ![]() Her acting, once passionately uninhibited, often became a matter of striking poses. She has encountered some vocal difficulties and suffered some casting mistakes. The Met finally got on her bandwagon-it really wasn’t vice-versa-with an “Il Trovatore” in 1961.ĭuring the intervening years, she has appeared in what may be our leading opera house less often than one might have wished. Important engagements followed in Chicago, Vienna, Verona, Milan, London and Salzburg. premiere of Poulenc’s “Dialogues des Carmelites.” NBC chose her for a televised Tosca in 1955 and two years later San Francisco introduced her as Mme. In 1952 Virgil Thomson drafted her for “Four Saints in Three Acts.” Soon thereafter she became an irresistible Bess in performances of Gershwin’s opera from New York to Moscow. ![]() The young woman from Laurel, Miss., first attracted attention singing Mistress Ford in a student “Falstaff” at Juilliard. ![]()
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