Word: arias
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...Halasz, and with a fine lead performance from Tenor Giuseppe Campora, the opera emerged at least in parts as the melodic masterpiece that the French have come to regard it (the Paris Opera-Comique has it in its regular repertory, as does La Scala). Outstanding were the fine tenor aria in Act I familiar to Caruso fans ("Je crois entendre encore"), the thunderous and majestic choral hymn of vengeance in Act II, a rhapsodic and haunting baritone aria...
...dinner Elsa got one up on Hedda by taking over the piano to play Cole Porter tunes, accompanied by Rainier on drums. Then Ari bellowed the theme song (in Greek) from the movie Never on Sunday, while La Callas rattled the maracas but declined requests for an aria...
Great Gift. Although Cesti is not the father of modern opera (the credit usually goes to Monteverdi), he did more than any other composer to develop the aria and make it as important as the recitative. Cesti's gift for melody was so great that his tunes were often pilfered, and he knew far better than his contemporaries how to weld the melody of an opera to its drama. Orontea, a typical Cesti product, is the story of a skittish Egyptian queen who spurns all suitors because in her "breast love dwells not." But when a handsome shipwrecked sailor...
...lifetime, and last week's La Piccola Scala performance suggested why. From start to finish, it was a singer's opera. The orchestration for the most part was slender, graceful, beautifully designed to give space to the principals (Mezzo-Soprano Teresa Berganza, Tenor Alvino Misciano), who sang aria after aria in serene, long-breathing lines. Bright with sentimentally colored melodies, Orontea scored a hit even with the critic of the Communist L'Unita, who conceded that "it really is beautiful music." The audience did not quite hail the composer as a "miracolo della musica...
Even opera was better than that, and Tozzi went to Italy to study. With the help of his teacher, he changed from baritone to bass, a decision he never regretted, although in basso roles he rarely gets the rafter-ringing aria or the girl. He admits to some annoyance when a tenor or soprano "who has been singing lousily all evening gets up there and hits a high note and brings the house down." But on balance, he will stick with the kings, priests, inquisitors and assassins who fall to the basso's lot. Being the villain, he finds...