Word: almaviva
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Dates: during 1950-1959
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...Count Almaviva, Malcolm Ticknor handles his small voice nicely in his arias but tends to get drowned out in the ensembles. His acting is particularly effective in the second act when he pretends to be a drunken soldier. Margaret Russell sings Berta's aria rather pleasingly...
...high order, with Ronald Gerbrands' protrayal of Basilio setting the pace. His big aria "Start a Rumor" (La Calumnia) stopped the show. William Nethercut sang and acted Figaro without straining, and the result was a characterization that helped hold the entire performance together. Robert Cortright looked noble as Count Almaviva, but found the role too high in pitch and too ornate for his basically sympathetic tenor voice. Arthur Anderson also has vocal difficulties as Doctor Bartolo, but he acts the old stodge convincingly. In smaller parts Laurence Chvany and Grace Lewis are excellent, and Noel Tyl adds a marvelous...
...year, notably Bayreuth and Munich, bid high for top-notch soloists. Salzburg, apparently confident that the Vienna Opera was the world's best, simply transplanted it for the festival season, and booked only two big outside stars: the Metropolitan Opera's Baritone George London (a commanding Count Almaviva in The Marriage of Figaro) and Tenor Ramon Vinay (in Otello). Salzburg's musical stalwarts of other years (Bruno Walter, Arturo Toscanini) were absent. But the hall was fuller than ever and Salzburg had its most profitable season since...
...dramatic debut in a last-minute substitution a year and a half ago as Zerlina in Don Giovanni, announced they would marry this summer. They met while singing Figaro and Rosina in The Barber of Seville, in which Figaro tries to persuade Rosina to marry the romantic tenor, Count Almaviva. Cracked Merrill: "This time the baritone got the girl...
...motion picture "The Marriage of Figaro" is not successful. Since the actors who play Count Almaviva and his retinue are not singing the roles, we should have the right to expect good acting and pleasing countenances. Instead, they posture and grimace with little sense of what is happening. Especially annoying is Angela Hauff's habit, in the role of Susanna, of smiling in all the wrong places. Perhaps she was smiling at the efforts of director George Wildhagen...