Word: birgit
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...furious pursuit of perfection has brought remarkable results. The company has given the first U.S. performances of such works as Britten's Midsummer Night's Dream and Cherubini's Medea, revivals of Nabucco and Ariadne auf Naxos, American opera debuts to such singers as Birgit Nilsson, Leontyne Price, Boris Christoff, Sandor Konya and Sutherland. Elisabeth Schwarzkopf, who has yet to sing at New York's Metropolitan, has been appearing in San Francisco since 1955. On good nights, the opera's chorus and ballet are matchless in the U.S., and some of San Francisco...
...Erich Leinsdorf to the contrary notwithstanding [Aug. 23], we have more first-class Wagnerian singers now than we had in the Melchior-Flagstad era. In the last few years the Metropolitan Opera has offered us such topnotch artists as Birgit Nilsson, Leonie Rysanek, Gladys Kuchta, Inge Bjoner, Regine Crespin and Anita Valkki, sopranos; Jon Vickers, Sandor Konya and Jess Thomas, tenors; Jean Madeira, Nell Rankin and Irene Dalis, mezzos; George London, Hermann Prey, Walter Cassel and Eberhardt Wachter, baritones; and Jerome Hines, Giorgio Tozzi and William Wilderman, bassos...
...SINGERS. Joan Sutherland, Birgit Nilsson and Leontyne Price had only twelve listings among them three years ago; now they have 53, one less than Renata Tebaldi has all to herself. Tebaldi is still the most recorded soprano, but Elisabeth Schwarzkopf is gaining fast and will soon pass her. Maria Callas, who has not done much singing from opera house stages in the past three years, has had eight new recordings issued anyway. Rudolf Schock made the biggest gain among tenors (14 to 38), but it must give him an edgy feeling to see that Enrico Caruso, silent these many years...
...ascetic is Denmark's Premier Jens Otto Krag, 48. A dashing Dane with a nose for opportunity and an eye for pretty women, he has been married twice: first to Swedish Actress Birgit Tengroth, currently to Danish Movie Star Helle Virkner, who has been named as one of Europe's ten most attractive women...
Wagnerians received their first big jolt at the end of Act I, when Isolde (Soprano Birgit Nilsson) and Tristan (Tenor Wolfgang Windgassen) embraced in full view of King Marke, who usually does not appear -or suspect the illicit love-until the end of Act II. The second act, like all the others, was provided with looming, symbolical sets, dominated by a huge shaft ("Of course, I meant it as a phallic symbol," snapped Wieland. "This is what the entire opera is all about, isn't it?"). The enthusiastic opening night crowd gave the reconstructed Tristan an unprecedented 30 curtain...