Word: bellini
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Dates: during 1960-1969
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...member of the "new grotesques" is Gregory Gillespie, 32, a native of New Jersey who now lives in Rome and shows at Manhattan's Forum Gallery. Gilles pie, who first went to Italy on a Fulbright in 1963, paints with tempera and oil on wood panels, as did Bellini and Giorgione, and loves Renaissance perspective. He limns tiny images of skinned-looking women or bloated, lecherous men as zestfully as Bosch him self, and sets them against the wall of a squalid Roman slum. Surrealistically oozing globules and pustules contrast with saints' pictures and comic-book illustrations...
MARIA CALLAS (Angel 3502, 3508). Bellini's 1 Puritani and Puccini's Tosca: the Greek-American soprano in her prime...
...BELLINI: NORMA (London; 2 LPs). Bellini's sylvan tragedy is rarely heard onstage, for since Giuditta Pasta introduced it in 1831, only a handful of sopranos have felt equal to the task of impersonating one of the most complex, heroic and appealing roles in opera. The latest soprano in the noble line of Normas is blonde Greek-Argentine Elena Suliotis, 25, who makes the role's demands sound like a cinch. But to entice those who already own the superb Callas Norma, or Sutherland's less successful try, London has reduced this album's price...
...Vincenzo Bellini's 1831 opera Norma is one of the Matterhorns of the repertory for sopranos. Many of the world's finest singers have come to grief on its melodic precipices because they lacked the bel canto technique, emotional projection, and soaringly powerful voice that the title role requires. The 19th century Soprano Lilli Lehmann said it was easier to sing three Brünnhildes than one Norma, and the great French Prima Donna Pauline Viardot was so obsessed with the difficulties of the part that the last word she spoke on her deathbed was "Norma." Maria Callas...
...Scala's novelty for this tour was Bellini's I Capuleti e i Montecchi, a bel canto relic that the company recently revived after a century of relative neglect. A retelling of the Romeo and Juliet story that owes little to Shakespeare, Capuleti, with Bellini's intimate scale, pervading sweetness and utter predictability, is a distinct contrast to Verdi's powerful, primitive themes and vaulting imagination. But the company -notably the two leads, Tenor Giacomo Aragall and Soprano Renata Scotto-traded the flawed gusto of its Trovatore and Nabucco performances for restraint and quiet artistry, making...