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Stairway on A. At the Met, she is a cheerful favorite among singers as well as stagehands. Says Jennie, the Met's tantrum-tested wardrobe boss: "She's regular." She is also a hard worker and a serious student. She has to learn her roles letter-perfect, and for a good reason: "I'm as blind as a bat." Without her glasses, she can hardly see either the prompter or the conductor. Conductors like her because she is quick, clever and agreeable, "no prima donna in temperament."
With stage directors, she has the same serious, hard-working approach. Garson Kanin, who directed Fledermaus, suggested that a splendid effect could be achieved if Pat could hold an A while climbing a flight of steps, ending it dramatically as she reached a balcony. Oh no, said Pat, "that would be practically impossible." But when Kanin arrived for rehearsal next day, he found her standing at the foot of the steps, biting her lip and concentrating. Then she ran up the stairs, high-noting it all the way. She doubted whether she could do the same thing in costume and with props (a long pole, and a bowl of fruit on her head). But by dress rehearsal, she had succeeded. Says Kanin: "It was an electrifying experience."
How Good? Rudolf Bing is in the business of producing electrifying experiences. And that requires "singers who can perform in the modern theater." In the old days, a fine voice was usually enough. The Tetrazzinis and Rethbergs took a solid stance, opened their golden throats, and sang. Operagoers still demand, and get, fine voices, but most of them have now been conditioned by Broadway and Hollywood to demand something more: good-looking, cleanly directed and well-rehearsed casts. So the Met scouts keep hunting for all-round performers. Some of their latest diva-debutantes:
ROBERTA PETERS, who comes from The Bronx, and, like Patrice Munsel, studies with William Herman. A chirrupy young (21) soprano and a born actress, she made a surprise hit as Zerlina in Don Giovanni last year. Sopranos Peters and Munsel are mutual admirers: Roberta keeps a scrapbook on Patrice, and Patrice, who often sits through Roberta's lessons, admiringly pronounces Roberta "great."
MILDRED MILLER, sprightly, Cleveland-born soprano, who made her Met debut as Cherubino in Mozart's Marriage of Figaro a fortnight ago.
HILDE GUEDEN, Vienna-trained soprano, who made her Met debut a fortnight ago as the girlish Gilda in Rigoletto, and will sing her first Rosalinda in Fledermaus this week, with Patrice as Adele.
ELENA NIKOLAIDI, Greek contralto, who also got her seasoning in Vienna, and made an opening-night hit as Amneris in Aïda.