Word: aria
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Dates: during 1920-1929
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...Messiah. Without an afternoon or evening spent under the majestically beautiful power of this great work Christmas would seem to be lacking in some particular. Under its spell everything else is forgotten and from the mighty strength of the "Hallelujah Chorus," and the clear burning faith of the aria. "I knew that my Redeemer liveth," from the entire work as a whole there comes over into the listener something of the peace the fresh purpose, the idealism which is Christmas. What is music that it can distill and epitomize thoughts which almost lie too deep for thought words for which...
...They had looked for trick instruments, screeches, yowlings, offensive percussives, and there was none of that. But even the untutored ones felt instinctively that then they were hearing the best music of the piece. The first and last acts are mostly dialogue sprinkled here and there with an aria of the light opera type, pretty, trite, unsuitable to snorting drama. The second act is different, written for no lovelorn gentlefolk, but for a great primitive mass, sung by them, savagely, hauntingly, throbbingly, masterfully done...
...Ascali about the days when he studied music in Milan. Tonight he was not so nice; why, he seemed positively mocking. Why did he not stop singing when she spoke to him? The cobbler, leering, continued his chant, and standing at his counter Miss Davis suddenly recognized the aria. "Ah, Gioielli . . . gioielli della Mad-ho-ho-han-ah. . . ." Jewels of the Madonna! She remembered now. The rings, the brooches-she had left them in the toe of her shoe. Arrested, Louis D'Ascali denied his guilt...
...with the death of Liu, the slave girl, the first scene in the last act, at which point Toscanini turned to the audience, said: "The composer worked until this point and then died." It seemed uncanny to the audience that it should have ended with the slave girl's aria, the one big bit of unaffected melody. They waited eagerly to hear the ending written by Puccini's friend, Franco Alfano, from Puccini's notes, with which the Scala company is already prepared. They commended, meanwhile, the superb Turandot of Rosa Raisa, the creditable Prince of Miguel Fleta, the attractive...
...groups. The first consisted of Lieder by Marx, Richard Strauss, and Hugo Wolf. These numbers tended toward the humorous, and while they were sung with charm it was in the second group that Miss Hempel again proved herself the sterling artist she is. This began with the Grand Aria from "Dinorah" in which the demented heroine chases her shadow vocally and competes with a flute. Miss Hempel easily won the competition. The chromatic octave which she ascended and descended twice in one breath was a noteworthy feat. The pathetic "Schwesterlein" of Brahms, the rollicking humour of the "Lauterbach...