Word: aria
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...then, when the action seemed to call for it, Stravinsky's music had a stringent dissonance, but most of the time it was straightforwardly lyrical. There were no ravishing melodies to leave the audience humming, but Anne Trulove's first-act aria - lamenting departed Tom - beautifully sung by Soprano Elizabeth Schwarzkopf of the Vienna State Opera, came close to stopping the show. The other top voices: Tenor Robert Rounseville of the New York City Opera as Tom, Mezzo-Soprano Jennie Tourel as Baba the Turk, the sideshow bearded lady whom Tom marries as a jape...
Berg: Der Wein (Charlotte Boerner, soprano; Janssen Symphony Orchestra, Werner Janssen conducting; Capitol, 1 side LP). Berg's masterful concert aria extols the qualities of wine ("I make your wife's eyes sparkle and give fresh strength to your son") in twelve-tone style. San Francisco Chronicle Music Critic Alfred Frankenstein explains the twelve-tone language (with Bergian illustrations) on the second side. Performance and recording: excellent...
...sung in only one opera (two performances of Madame Butterfly in New Orleans), his phenomenal drawing power in appearances was matched around the U.S. in the past season only by Britain's Sadler's Wells Ballet. His third and latest movie, The Great Caruso, an aria-studded pseudo-biography of another pretty good tenor, broke a record in Manhattan's Radio City Music Hall by piling up $1,500,000 in ten weeks...
...dust that he could not sing. Silver, who was already selected for the show, devised a ruse: he put Lanza's name on a label and pasted it on a homemade recording (taken from a radio broadcast) of the Met's Tenor Frederick Jagel singing a Tosca aria. Impressed, Hayes took Mario on. Later, when Lanza could sing the aria himself, Hayes marveled: "You're even better than you were on the record!" Ever since, not content with this version of the story, Lanza has insisted that the record was really a Caruso...
...second and third acts, Albanese gave Milan more fine acting. Holding Butterfly's son in her arms, she sang her anguished farewell aria, dropped to her knees, got back up again, never let the three-year-old out of her arms, never lost a note. Albanese was pleased with La Scala's realistic casting of the youngster: "Finally I have a child the right age." At the Met, because of child-labor regulations, she has to struggle with seven-year-olds...