Word: arias
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...Poor Renee Fleming, as the Countess, was stuck with the staging's only coarse moments. Somehow director Stephen Medcalf thought to dramatize the lady's unhappiness by portraying her in a kind of sexual heat. While Susanna is singing "Dei vieni non tardar," Mozart's heavenly, healing, last-act aria, the Countess is writhing around a tree trunk...
Well, as another aria put it, Addio, sublimi incanti al pensier -- "farewell, sublime incitements to thought." That market is as dead as Otello at the fall of the final curtain. Other areas of the art market that were badly shaken in the crash of the late '80s, from Old Masters to Impressionism and Americana, have shown cautious signs of life; but for most contemporary material, the bottom of the pit has not yet been plumbed...
...power behind the song, from Dion's new album The Colour of My Love (550 Music/Epic), is her bring-the-house-down voice, which turns an old, schmaltzy ballad into a soaring pop aria. That voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace. And it is not just a studio creation -- as Americans have had a chance to see. Dion has a concert special running on the Disney Channel through March and is just wrapping up her first U.S. tour as a headliner -- a 17-day, 10-city trek...
...Harvard are mentioned often in the book, as the time in his life when he developed both a love for opera and a sexual awareness. During the interview, he fondly recalls an opera club he formed in North House with a (female) love, and her singing a Mozart aria down a stairwell in Comstock. He also notes that he was quick to transfer to Adams house, finding North to be a dead end romantically and socially. He also reaffirms the impression given by his book that his musical life at Harvard was much richer than his erotic life...
...main interaction we see is between Beckett and Miller. In one eerie, powerful scene between the two, Andrew Beckett becomes absorbed with Maria Callas' rendition of the aria "La Mamma Morta" from the opera Andrea Chenier, reciting the lyrics and dancing with his I.V. stand. It is in this scene that Andrew tries to convey the totality of his experience to Miller. Andrew is crying at the end. Miller tries to hold back his tears, and leaves the apartment, but then wants to go back--he almost knocks again on the door, then draws away...