Word: aria
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...Schippers again, but without the imagination he gives to Macbeth. He just keeps things going along and lets his experienced performers (Leontyne Price, Richard Tucker, Giorgio Tozzi) take over. Price is at her very best. Her voice magnifies Verdi's intent and makes every hoary old aria sound as if it were written yesterday. Tucker at 50 gives every indication that he can go on singing forever-a cheering prospect. Only Tozzi is disappointing. His voice sounds dry, and he does the role of the padre like a priest droning through early Mass. For people...
Misplaced Aria. What few realized was the extent of Landon's "a la Haydn" restoration: fully one-third of the opera was pure Landon. So skillful was the reweaving job that even Director Werner Duggelin and Conductor Alberto Erede were taken in. Questioned about the major aria, "Quanti diversi sentimenti nel cuor!" (How many emotions are in my breast!) in the second act, Duggelin unhesitatingly replied: "Oh, that is Haydn, beyond any doubt. Of course, I know Landon did a job of restoration. But as a professional, one knows what and where, of course." Echoed Erede: "That is Haydn...
Miss. Owen's musical personality, expressed with restraint in the Yannatos work, blossomed in the Verdi Bolero, "Merce dilette, amiche." She sang the aria with perfect intonation and virtuosity, and the audience demanded that she repeat it. The second time around, Miss Owen was every inch the soprano. Flowers in hand, she sang to the audience, to the orchestra, to Yannatos and, quite possibly, to Verdi himself. She was obviously enjoying herself and her joy was contagious...
...having trouble getting his instrument to speak in the slow movement of the Beethoven Piano Concerto No. 1, somewhat disrupting the serene beauty of the movement. There were strings who had intonation difficulties occasionally throughout, and rhythm troubles in both Beethoven works. At one point in the aria, the dramatic effect of what was supposed to be a Grand Pause was lost in the scraping of some disoriented violist or 'cellist...
Then there was David Borden's aria for soprano and orchestra on Dylan Thomas's Force that through the green fuse drives the flower / Drives my green age. There was no clear relationship between the music and the words. The poem invokes a myriad of very different images: plant metabolism, evaporation, the action of tide and wind, and time, the dripping of blood and the hanging of a man. The music pounded along its atonal course without proper variation in color for the different verses. Borden did demonstrate his sensitivity to the poem, once, with his treatment of the reiterated...