Word: bogard
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Dates: during 1960-1969
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...Peter Hunt's lighting, so determinedly atmospheric that is declined to illuminate such non-visual set components as actors. Bruce Yarnell, of Annie Get Your Gun fame, sang Escamillo with an ample baritone, but sounded ready to launch into "The Girl That I Marry" at the smallest provocation. Carole Bogard's Micaela had lots of potential but her lively soprano couldn't compensate for the inherent dullness of the role. Glade Peterson's powerful and expressive tenor seemed perfect for Don Jose, but he muffed the Flower Song and never fully recovered...
More disappointing were the two guest soloists, perhaps because of the attention drawn to them by separate billing and fancier stage protocol. In BWV 105 soprano Carole Bogard began confidently but was evidently unsure of most of the aria beyond the opening phrases. As the movement progressed she became increasingly dependent on the score in her hand, and while her opening phrases had been nicely shaped the rest was little more than competent reading. Still, she obviously had a good ear, enviable accuracy of pitch and a fair amount of vocal agility. Alto Eunice Alberts sang with the inertia typical...
...replace anything that fails to work. By creating its own captive market, the company should be able to absorb the immense cost of technical innovation that inhibits many promising new building ideas. "We have been a supplier of products for houses," ex plains George T. Bogard, head of G.E.'s recently created Community Systems Development Division. "Now we're try ing to become a supplier of a whole new system of building...
...voiced mezzo, she turned on her contralto chest tones when the occasion demanded, bravely sacrificing tonal purity for dramatic effect. The Thesee of baritone George Fouree was excessively forced, with no top notes; probably he was preoccupied with flailing the devils sailing over his head. Boris Carmeli (Pluton), Carol Bogard (Diana) and Norman Kelly (Tsiphone) were all effective in their smaller parts...