Word: aria
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...piped vest and cutaway, changed during intermission to bright blue breeches, shiny riding boots and an opened-neck shirt with wings on the pocket. In his first regalia he was an earnest formal concert artist, exhibiting his smooth ingratiating voice at its best in a long sustained aria from Handel's Judas Maccabaeus. Worthy also of the imposing Crawford sideburns was Bach's My Peace I Give Unto You, in which he was solemnly assisted by a group of youthful choristers from St. Thomas Church...
...later years Beethoven referred to Fidelia as "the one of all my children that cost me the worst birth-pangs, the one that brought me the greatest sorrow, and for that very reason the one most dear to me." Records show that for Leonore's big aria, Komm Hoffnung, he tried 18 different attacks, ten for his concluding chorus. He wrote four overtures be fore he was satisfied, each seething with symphonic ideas. Handicaps were his lack of theatre technique, his stormy impatience with what seemed to be intrigue. In a revised version the opera had a more promising...
...sing. The composer inspires so much gratitude in Kiepura by giving him a job that Kiepura later leaves the company when he finds the composer is also in love with Miss Swarthout. The complications intervening until the curtain can fall on the Kiepura & Swarthout reunion, after a superb aria in Romeo & Juliet, are concerned with bringing him back, getting rid of the drunken self-worshipping tenor...
...catch popular fancy; it was fervent, even as an organ tone, deeply impressive. Even more moving was Der Tod und das Mädchen, in which she made a sustained low D seem incidental to the horror of the dying girl, the call of Death itself. Thereafter came an aria from Verdi's Don Carlos, made vivid by canny restraint. With Sibelius' Die Libelle she proved that she could trill. After spirituals the audience clamored for encores for a good half hour, until the hall's lights were dimmed and the curtains finally closed. Most singers...
...wistful and shy and still suggest a certain brave dig nity. Her Un bel di vedremo was perfectly patterned to describe Butterfly's faith in Lieutenant Pinkerton's return, her defiant refusal to believe that he could have for gotten her. Other Butterflies have sung the aria with greater flourish, built it up to a more flagrant climax. Susanne Fisher's voice, though not powerful, is true, clear, delicately expressive. She uses it with discriminating taste and intelligence. To prepare for a role she plays through the entire opera score a dozen times be fore she sings...