Word: arias
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Dates: during 1950-1959
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...program was almost all Italian arias songs. The only composer of the German school represented was Mozart, and he by an Italian aria from The Marriage of Figaro. The most successful song was Bellini's Dolente Immagine, in which Tebaldi lingered over every vowel, almost caressing the notes with her voice. Another highlight was the magnificent Ave Maria from Verdi's Otello, which despite one shrill phrase was memorable for a ravishing final high note in mezza-voce. The audience went wild, and called Tebaldi back for three Puccini arias as encores. She didn't mind the tiring program...
...performed at Kent School, Conn.; 3) a piano concerto, to be played at Manhattan's Juilliard School of Music next month; 4) a symphony, his third, which the Boston Symphony Orchestra expects to play in March. The Louisville Orchestra, under Robert Whitney, premiered the cantata-really a solo aria the size of a full-grown concerto. Titled Idyll of Theocritus, it was even more imposing than previous jam Sessions...
Since her 1941 radio debut on the MARCH OF TIME (where she sang as the voice of Rosa Ponselle), Soprano Farrell's voice has grown in range, flexibility and control-as she demonstrated last week when she sang with the famed Bach Aria Group in Manhattan's Town Hall. She steered the opulent sounds of her voice gracefully along the sometimes tortured paths of Bach's counterpoint. Its gamut was smooth and even from the light, flutey high notes, where sopranos often lose character, to rich, viola-like lows. When she finished her arias, she accepted...
...cooking and children (the Reagans have two). Nevertheless, she managed to sing 60 concerts a year across the U.S. This year she decided to cut down in favor of Manhattan appearances and guest shots. Her usual New York dates: three a year with the high-minded, highly popular Bach Aria Group, plus regular appearances on The Telephone Hour...
...doll. The standout was Soprano Lucine Amara. who brought to the stage the kind of dazzling vocal splendor that made the Met famous. The sound of her voice was eggshell-fragile, sunset-colored, and so surprisingly powerful that the audience burst into cheers at the end of her big aria...