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...object of Silva's and everybody else's affections was Martina Arroyo, as Elvira. Her acting, even by the standards of opera, was on the tame side. But she provided the kind of feathery high notes, creamy middle range and sheer power that have made her one of the Met's most reliable prima donnas...

Author: /time Magazine | Title: Music: L'Italiana di Harlem | 9/28/1970 | See Source »

...chance of stealing the show from Milnes and Raimondi. The opening-night lead, though, is the biggest plum the Met can offer. In the hy-pertense backstage world of grand opera, Arroyo is a refreshingly unpretentious anti-diva-a cool, relaxed, blend of fun and kindness. Explaining how she got the part, she remarked characteristically, "My mother says it's because all the good singers were out of town...

Author: /time Magazine | Title: Music: L'Italiana di Harlem | 9/28/1970 | See Source »

Once Rudolf had impressed himself so deeply on the Orchestra, Leonard Bernstein never had a chance of putting it into shape for the Ninth Symphony in one day. He could not be expected to get his soloists-Martina Arroyo, Lili Chookasian, Richard Lewis, and Thomas Paul-integrated with the orchestra, and he didn't. The first three movements were unsatisfactory, glossing over all the nuances of score which distinguish this work, and filled with muddy playing. The choral movement failed for lack of rehearal. The BSO recorded the Ninth with Leinsdorf only last year, and it was clearly influenced...

Author: By Michael Ryan, | Title: Musie BSO's Beethoven | 4/16/1970 | See Source »

...century's finest contraltos, Marian Anderson, did not break into opera until 1955, when she was 52. Beyond Tenor George Shirley there are hardly any black male opera singers. But of the top eight American-born female operatic singers, four-Leontyne Price, Shirley Verrett, Martina Arroyo and Grace Bumbry-are black...

Author: /time Magazine | Title: Music: Situation Report: Music | 4/6/1970 | See Source »

...people seem to pigeonhole you. I enjoy it, though. I'd go out of my mind if I sang nothing but Tosca and Traviata." Reardon pragmatically divides compositions into only two categories: music and nonmusic. "Some things I won't do," he says. "I once heard Martina Arroyo do a work called Momente by a composer I have forgotten.* She was called upon to make all kinds of sounds, including bird chirps and grunts. Now that I would refuse. You're not singing anything, so why not just get someone who can make noises...

Author: /time Magazine | Title: Opera: The Devils and Reardon | 8/22/1969 | See Source »

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