Stepping in for another singer on short notice is a nerve wracking situation for any singer but even more so when the deputizing singer is making her debut in one of the starriest roles in the Italian repertory and in one of the most famous productions in one of the biggest houses in the world. Latonia Moore did exactly that on March 3 when she sang Aida at the Metropolitan Opera on a Saturday matinee that was broadcast around the world. And while the Triumphal March is played for the victorious Egyptians in this grandest of Verdi operas it could easily have been encored for Latonia as she took her curtain call.
But not only is it a nerve wracking circumstance for the singer in question it is equally a time of tension for her colleagues. Theoretically, in productions at houses like the Met which have a constantly shifting repertory these situations should proceed smoothly. But until the curtains part and the prelude begins no one is sure how things would go.
When Latonia was notified she would be going on as Aida she announced it to her family and friends on Facebook. I have no doubt she was prepared and assured but she was also taking on a role that some of the greatest sopranos had sung at the Met. She was introducing herself to one of the most demanding audiences.
It didn’t take long for everyone to realize that Latonia has what it takes to be on that stage. In my opinion it was her “Ritorno vincitor” that sealed the deal. Her voice was lush and powerful and her phrasing was impeccable and the audience adored her. It showed her co-stars that they were in good hands and the performance would be smooth sailing, musically at least. The Met had some equipment problems that afternoon that resulted in overlong intermissions but the singers coped admirably. Brava Latonia!
