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...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...

Author: /time Magazine | Title: Music: Sea Sprites & Demons | 10/3/1960 | See Source »

...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...

Author: /time Magazine | Title: TIN PAN ALLEY: The Shady Side of the Street | 8/29/1960 | See Source »

...with the bases loaded. While the performer stood transfixed, boos, catcalls and whistles filled the warm night air. Occasion: an open-air performance of Aïda at Verona, during which Soprano Antonietta Stella committed the unpardonable sin of muffing a high C in the difficult third-act aria O patria...

Author: /time Magazine | Title: Music: ... To Forgive Divine | 8/15/1960 | See Source »

...acts Stella had been in fine voice: her famous Ritorna vincitor! aria had brought a thunderous ovation. But by the third act Stella's voice sounded shaky. When she came to her great third-act aria, her voice suddenly lapsed into a dolorous wail on the phrase "no, mai piú," which ends on a high C. Then the voice vanished like a blown-out flame...

Author: /time Magazine | Title: Music: ... To Forgive Divine | 8/15/1960 | See Source »

Soprano Farrell's first venture into popular recording occurs in a Columbia album titled I've Got a Right to Sing the Blues!-issued simultaneously with two other Farrell albums, a collection of Puccini arias and a recital featuring Schubert, Schumann, Debussy and Poulenc. Soprano Farrell was a jazz fan long before she became a serious singer-back in the days when she was getting vocal encouragement from her parents, who once toured the nation as "The Singing O'Farrells." In the '40s she used to sing the blues occasionally on radio shows...

Author: /time Magazine | Title: Music: New Jazz Records | 8/8/1960 | See Source »

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