Word: boito
(lookup in dictionary)
(lookup stats)
Dates: during 1920-1929
Sort By: most recent first
(reverse)
Satan loomed tall as a tower; his eye was a jewel, his voice was thunder. On the stage of the Chicago Auditorium he stood, for the first time this year. He was Feodor Chaliapin, giant Russian basso, appearing in Boito's Mefistofele. Louder than ever boomed the great voice; the mountainous man, lithe for all his bulk, stalked, the incarnation of sinister and engaging evilness upon the boards. In one of his greatest roles he outdid himself. He suited his bones to the music of his throat, executed a physical fugue; in the Brocken scene, he boiled, surged like...
...midst of tumultuous scenes such as only Italian enthusiasts can supply, Arrigo Boito's Nerone was last week performed at the Scala. Toscanini conducted; the important singers were Aureliano Fertile, Rosa Raisa, Marcel Journet. Seats cost from 100 to 800 lire each. News of the opera was flashed by telegraph to Mussolini...
...Monday--L'Africana Meyerbeer Tuesday--Louise Charpentier with Miss Garden Wednesday Matinee--Snow-Maiden Rimaky-Korsakow Wednesday Evening--The Barber of Seville Rossini Thursday--Siegfried Wagner Friday--Carmen Bizet With Miss Garden Saturday Matinee--Boris Godunow Moussorgsky With Mr. Chaliapin Saturday Evening--Faust Gounod The Second Week Monday--Mefistofele Boito With Mr. Chaliapin Tuesday--Snow-Maiden Rimsky-Korsakow Wednesday Matinee--Traviata Verdi Wednesday Evening--Carmen Bizet With Miss Garden Thursday--Boris Godonow Moussorgsky With Mr. Chaliapin Friday--Manon Massenet Saturday Matinee--Le Jongleur de Notre Dame Massenet and 'II Maestro di Capella Paer Saturday Evening--Otello Verdi
Died. Giuseppe Ballignani, 73, director of the Milan Conservatory of Music for 32 years, friend of Verdi, Boito and other Italian composers, in Milan, after falling from the fourth floor of his home...
...good, and very few pieces rise to the remotest inkling of the grandeurs of the original. Especially is this true of the Shakesperian plays made into operas. Both librettos and music are sad mirrorings. Verdi's Otello and Falstaff, with their scholarly librettos by Boito are the only operatic compositions that ascend within sight of Shakespeare. They are not faithful to the poet in spirit-they sober down his great madness, adding to it a classical and austere elegance of form...