The natural

On this day in 1948 tenor Giuseppe di Stefano made his Metropolitan Opera debut as the Duke of Mantua.

Quaintance Eaton in Musical America:

The walls bulged and the ceiling resounded when Giuseppe Di Stefano, 26-year-old tenor from Milan, made his debut as the Duke in the fourth Rigoletto. Rejoicing behind the rails was at fever heat and though it was not exactly prejudicial to the success of the newcomer, it still was enough of an irritant to disturb many. In other words, what seemed to be a claque was a real nuisance, and, in view of the disposition of the majority to like the tenor, an unnecessary one. The outbursts which greeted his tentative beginning grew wilder and wilder until there were “bravos” even in the midst of arias and one shout, “Boy, you’re a natural,” which nearly upset the lad, already in an agony of nervousness. His recovery was swift, however, and his assurance grew as the evening waned.

. . . .

Soberer customers had reasons to approve him as well. Mr. Di Stefano’s voice is clear, manly and fluent. It has some sweetness in the middle range and in moderate, or soft, passages, and if he does not yield to an inclination to force on attacking higher notes, his top voice should open up and really ring. He is free from too much portamento and turns a phrase neatly, so that there is hope for musicality, although he was tempted into holding final high notes too long. His rhythmic sense improved after some false starts and stumbling in “Questa o quella,” from which Pietro Cimara saved him by adroit conducting. His best singing came in the third act, when “Parmi veder le lagrime” was movingly and ringingly delivered. He also showed a feeling for florid style in “La donna e mobile” and was secure in the quartet.

Almost painful shyness made for stiff and decidedly amateurish acting, but a feeling for the stage is obviously present and it is to be hoped that he can learn. With any sort of artistic humility, so that he is not spoiled by too much adulation too early and not led astray by the antics of the claque, the youth should be a fine lyric tenor-actor and a distinct addition to the American stage.