Word: blendings
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Dates: during 1970-1979
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...mention Wagner. She may be ready for some of that music in five to ten years, although she herself doubts it. For now it is enough that she sings Mozart (Cherubino in Figaro, Dorabella in Cost fan Tutte) with exquisite taste, control and sheen. Or that she can blend the impetuous and the spiritual so deftly as Nina in Thomas Pasatieri's The Seagull, or the childlike and the vulnerable so magically as the heroine of Debussy's Pelleas et Melisande. Starring in Rossini's La Cenerentola with La Scala in Washington, D.C., last September, she displayed...
Much of the confusion is Marre's fault. Her Kate is as easily distracted, inconsistent and uncontrollably violent as a child. Although she begins with a convincing psychological blend of jealousy (towards her sister) and craving (for Baptista's love), Marre fails to weld any emotional links. After her meeting with Petruchio, the first man who has ever silenced her--he answers her rails with songs and her frowns with eloquence--she is completely unimpressed. And when, after their hasty wedding, Petruchio determines to go home to the country, either with or without her, Marre vacillates too thoughtlessly between yielding...
...play is a subltly modulated blend of humor (verging on slapstick) with tragedy (verging on bathos). The Abbey's great achievement in the past has been its ability to stage O'Casey without falling into either abyss. While the production now at the Schubert does not fall from the tightrope acting the play demands, neither does it evoke gasps...
...information needed to plan and build a house in harmony with its natural environment. It tells how to face it south to get heat from the sun's rays and how best to conserve the heat once it enters the house, how to design the outside to blend with the house's surroundings. And my cousin says it's thorough in the technical details. He should know, because he builds houses. I'm just a skinny, cerebral college student...
...Verdi Requiem was a marvel of controlled fervor. Soprano Mirella Freni's concluding Libera me had a rare blend of sweetness and power. The Brahms Requiem seemed cut from velvet rather than the usual broadcloth. Karajan's reading was a subdued rumination, a realization of the deeply personal utterance the composer drew from the Lutheran Bible. In the elegiac "And ye now therefore have sorrow," Soprano Leontyne Price seemed to distill grief and comfort into a burnished flow of melody...