Word: aida
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Dates: during 1950-1959
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...economics and the other on aesthetics. Perhaps the virtues of both plans might be attained by combining them into one great interlocking directorate. This new institution, the Harvard Dramatic Organ, could prevent recalcitrant individualists from forming new "out-caste" groups, simply by scheduling some spectacle, say Aida, at the same time as the out-caste performance of Oedipus, which would not have the benefit of sets. With the new emphasis on harmony and unity, all kinds of wonders could be worked. The Cambridge community must look with favor upon the combined efforts of Schwalb and the H.D.C. As Yeats himself...
...time debut the night La Scala reopened after the war, singing in a concert under Arturo Toscanini. Her specialty is igth century Italian pulse-bumpers, but Renata is a placid, hard-working woman who says she does not really like to sing passionate heroines. How will her Aida sound next week at the Met? Not too passionate, she says. Aïda, so Toscanini convinced her, is really a mild woman, essentially just "a very good daughter...
...role calling for a dark skin. Marian Anderson's Metropolitan Opera debut as the Negro Ulrica, in Un Ballo in Maschera (TIME, Jan. 17), made fortissimo headlines, and this week Baritone Robert McFerrin is causing another stir at the Met by singing the Ethiopian king Amonasro in Aida. The NBC Opera Theater was even bolder: this week it cast Leontyne Price, 26, as the Italian opera singer Tosca...
...Aida, the eyes have it. Lest any of the plot be lost between the music and the Italian language, a discreet narrator explains each scene before it starts. Aida (Sophia Loren) is a slant-eyed, dusky-skinned, full-lipped Ethiopian slave girl in the Egyptian court. She and the stone-faced princess (Lois Maxwell) are in love with a weak-mouthed warrior named Radames (Luciano della Marra). Radames is sent off to trounce the Ethiopians and is rewarded, all against his will, with the hand of the princess. Torn between love and guilt, he slips Aida a top-secret battle...
...Stignani and Giuseppe Campora (with supporting singers from La Scala and the Rome Opera). He has had his visible actors synchronize their lips and slow-motion movements with the music. Unfortunately, his $3,000,000 budget apparently made no allowances for up-to-date recording equipment. Too often Aida rasps and burbles as though it were being played on a windup phonograph with a rusty needle-and another low blow is dealt to grand opera...