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FRENCH OPERA ARIAS; FREDERICA VON STADE (Columbia). The U.S.'s current operatic sweetheart gives a few lessons in what the French aria is all about.

Author: /time Magazine | Title: Music: The Year's Best | 1/3/1977 | See Source »

Last week, for example, her stage was the San Francisco Opera, where to cheers and sustained applause Von Stade wound up a two-week stand as the young-but-savvy Rosina in Rossini's The Barber of Seville. Then she headed for Italy, where next week she will sing...

Author: /time Magazine | Title: Music: Von Stade: Forget the Magic | 12/13/1976 | See Source »

There are no arias and no story. Instead a cast of 27 moves through a series of pictorial events set to the instrumental and vocal music of Philip Glass. A leading composer of the trance school of American music, Glass, 38, suggests in his work both Indian ragas and Bach...

Author: /time Magazine | Title: Music: The Beach Boy of Opera | 12/6/1976 | See Source »

Cenerentola is less popular than Rossini's The Barber of Seville, probably because of its emphasis on bravura ensemble work over traditional solo arias. Further, the title role is written for an almost extinct species, the coloratura contralto. La Scala has such a rara avis in Lucia Valentini Terrani...

Author: /time Magazine | Title: Music: The Opera Week That Was | 9/20/1976 | See Source »

A mournful-looking man with an unctuous public style, Arias himself has had a sometimes troubled relationship with the Bunker. As Franco's last Premier, Arias launched a policy of apertura (opening) that infuriated rightists, even though it involved such modest gestures as allowing free elections in some municipalities...

Author: /time Magazine | Title: SPAIN: Time for a Change | 7/12/1976 | See Source »

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