Word: adriana
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Author Ernest Hemingway used to pour himself into his letters-and never with less inhibition than when writing to a young Italian woman named Adriana Ivancich in the early 1950s. "Miss Mary always regarded how I felt about you as a cosa sagrada [sacred thing]," the novelist wrote. "It was something that struck me like lightning." Now the London auction house of Christie's has announced that it will sell 65 of Papa's letters to Adriana, a Milanese countess and the self-proclaimed heroine of Across the River and Into the Trees. Miss Mary, clinging...
Norma Levin proves herself a fine straight actress as Adriana. But with her two numbers--"Falling in Love With Love" and "Sing For Your Supper"--she seems a little uneasy. It also falls to her lot to sing some of "The Shortest Day of the Year," a song which demonstrates Lorenz Hart at his least inspired. Carol Schectman is a singer first and foremost, and even a little below her range, as in "This Can't Be Love," she works with abundant wonders...
Need something for an elderly maiden aunt? Here is romantic pish-tush, complete with nobility, scurrility, offstage virility, plight, blight, violent demise and intentions tragically mistaken. The locale is Rome. The heroine is Adriana, an aristocratic Italian beauty. One day, she is struck down by that scourge of modern-day Italy, a Vespa. She is helped to her feet by an imposing policeman, Captain Falconieri, in whom any reasonably perceptive reader can discern the ingredients of a true lover: "Above all, in the powerful current of masculinity beamed towards her." The current, however, is short-circuited by calamities-knifings, renunciations...
...trick for a soprano in Adriana is to seize the stage before the tenor has a chance to plant himself with arms thrown wide to uncoil one of the soaring rhapsodies that billow through the length of the opera. The trick is particularly tough when the tenor is as talented a scene stealer as Franco Corelli, but Tebaldi handled the job nicely. When she came on in Act I in an ivory gown and red hair, she looked so startlingly unlike the matronly Tebaldi of other years that even her devoted claque paused in surprise for the space...
...voice dwindled with the poundage. Adriana is an opera in which Tebaldi can sing much of the time toward the center of her range, where she is happiest, and in last week's performance her voice had all the remembered caressing skill that can breathe dramatic life into a line with effortless ease. Her role gave her ample opportunity to float out those clear, carrying pianissimos that reach to the last row in the house...