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Word: arias (lookup in dictionary) (lookup stats)
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...also talked a little about music: "I am very fond of light opera ... I can't say that I can go to a 'high-hat' opera . . . and enjoy it all. But there is usually one aria . . . that is worth listening to. Most of the rest of opera music is boring...

Author: /time Magazine | Title: THE PRESIDENCY: Waltz on a Spinet | 5/21/1951 | See Source »

Paul Tibbetts' strong bass voice appeared to excellent advantage in the role of Creon. While Oscar Henry's lyric tenor lacked the force required by the dramatic role of Oedipus, it was none the less appealing. Miss Alberts made Jocasta's fascinating aria one of the evening's high points. The "Oedipus" was marred only by a badly written narration which broke up the tenseness of the work...

Author: By Bonhomme Vieuxmont, | Title: The Music Box | 3/2/1951 | See Source »

...days. He set up a small platform in the center of the huge main stage, kept the action confined to it. To the scandal of traditionalists, he even took away the tent that generations of Pagliaccis have clung to as they sobbed the clown's famous aria. Tenor Ramon Vinay did his sobbing in front of a dismal little curtain that was lowered behind him. As at the Lemonade Opera, perky choristers danced on from time to time with props and a snippet of scenery. All in all, what had been bright staging in Greenwich Village seemed pretty thin...

Author: /time Magazine | Title: Music: Bing Pinged | 1/29/1951 | See Source »

Several individual performances in the Magnificat deserve especial mention. Daniel Pinkham's playing of the harpsichord continue was very line, while, despite a few precarious moments, Gerard Gouguen negotiated the high trumpet part quite successfully. The most satisfying section for me was the aria for alto, "Esurientes implevit bonis." Miss Albert's singing and the flute playing of Howard Brown and Norton Gettes were outstanding...

Author: By F. BRUCE Lewis, | Title: Orchestra-Glee Club Concert | 12/7/1950 | See Source »

Unanimous in Geneva. The kind of natural singer whose effortlessness and grace make singing seem easy, she warmed up on the seldom-heard Recitative and Aria of Messagera from Monteverdi's Orfeo. She soared sweetly in Scarlatti's Le Violette, then navigated the vocal rapids of an aria from Handel's Joshua with sureness and poise. In a full, flowing voice, at its darkest the color of a ripe Spanish olive, she sang easily (if a trifle affectedly) through a group of German lieder and on to the songs of her native Spain. In her last encore...

Author: /time Magazine | Title: Music: Butterfly from Barcelona | 11/6/1950 | See Source »

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