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...again stood out for the sheer professionalism of his performance. There was, however, a certain unaccustomed tightness in his production which did not, in the end, mar the overall effect. Also featured were Allan Haley, tenor, Donald Meaders, baritone. Martin Kessler, baritone, an excellent sextet in Webbe's "Glorious Appollo," and Phil Kelsey doing several prodigious "swoops" in the Poulenc...

Author: By Lloyd E. Levy, | Title: Harvard Glee Club | 4/22/1968 | See Source »

...choruses throughout are well directed, well spoken and graceful. Care has been taken with details in the casting. Appollo and Athena (Joel Martin and Anne D'Harnoncourt) look like gods, towering over the mortals on the stage...

Author: By Donald E. Graham, | Title: The Oresteia | 5/15/1964 | See Source »

Still the Kirkland players do well by Euripides in presenting an Orestes which becomes sardonic and satirical. When Appollo arises to save the assembled from destruction in the burning house of Atreum, the deus ex machina is not a convention but a joke; it's almost as if the Glorious Messenger has come to the rescue of Mack the Knife. The disparity between real and ideal which is developed throughout, the absence of any solution to the general corruption, is neatly brought home by Guzzetti's staging of a totally unconvincing resolution...

Author: By Ben W. Heineman, | Title: Orestes | 5/1/1964 | See Source »

...outdoor concert demands a program of fairly robust music, as well as precise diction. The Glee Club met both these tests. They were best in "Gaudeamus," a college medley in a very clever arrangement by William Russell; Harvard Hymn, Glorious Appollo, Bacchanal, and Marching to Pretoria were also well suited to outdoor singing. "Magdelein im Walde," a Czech folk song, was the only muggy spot on the program, and it got the loudest response from the birds. After the concert, a large part of the audience joined the Glee Club in gusty renditions of football songs...

Author: By Jerome Goodman, | Title: THE MUSIC BOX | 5/11/1950 | See Source »

...Crimson exhibited feeling and restraint which directly rested upon the use of covered-tone throughout. Similarly in the treatment of "A Lieta Vita" in the Gastoldi trie the Club's controlled vocal quality, which had to overshadow the same mechanical lack of sponaneity apparent in the opening number, "Glorius Appollo," triumphantly impressed itself...

Author: NO WRITER ATTRIBUTED | Title: The Music Box | 11/8/1947 | See Source »

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