Word: aria
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Dates: during 1960-1969
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...love with Laura, who is married to Alvise. By the time Gorria-Boito sets things right, four acts and nearly that number of hours have elapsed. But La Gioconda is a singers' opera, and it gives the principals some rousing tunes, including Enzo's great second-act aria, Cielo e mar, superbly rendered last week by Tenor Tucker...
...performances of all the principals, Farrell sang not only with her fabled power but with limpid clarity and velvety richness. If she still occasionally strained on top notes, she more than made up for it with the rich play of emotion that flooded her voice in her fourth-act aria, Suicidio. And she acted surprisingly well in a role that practically invites parody. Her Gioconda demonstrated that a truly distinguished Farrell performance at the Met requires only the combination of a good night and an opera with more than pretty tunes...
...considerably more competent. The melodic lines were supple, the tone solid, and the phrasing refreshingly simple. But these good people were often forced to compete with the instrumentalists who were accompanying them. I was particularly impressed by Lila Woodruff's clear and completely unaffected reading of the soprano aria, Quia respexit, which she accomplished by completely ignoring a jarring accompaniment by a very poorly tuned oboe d'amore...
...classically oriented manner, it discarded the classical ballet conventions that appear in such Ashton successes as Cinderella and Sylvia. What he was trying to suggest, says Ashton, was "the ebb and flow of the sea: I aimed at an unbroken continuity of dance, which would remove the distinction between aria and recitative." As a result, Ondine offered few pyrotechnics, gained its effects instead through sinuous mass movements in which the undulation of arm and body suggested forests of sea plants stirring to unseen tides. The sense of submarine fantasy was reinforced by Stage Designer Lila de Nobili's fine...
...eternal triangle chime more funereally than it did in the Nineties, most notably under the hand of Paul Dresser, songwriter (The Banks of the Wabash), monologuist, medicine-wagon minstrel and older brother of Theodore Dreiser. Dresser's He Brought Home Another might have qualified as the first great aria in soap opera...