Word: britten
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Dates: during 1960-1969
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...Britten-Norman Ltd. seems almost an anachronism. The airstrip at the company's plant near the resort town of Bembridge on Britain's Isle of Wight is nothing but a sod runway. The one plane that Britten-Norman builds carries ten people in a fuselage that even its designers admit is "just an aluminum rack." It has a high, slablike wing and a top speed of only 168 m.p.h. Yet low and slow as it flies, the Britten-Norman (BN-2) Islander, as it is called, has proved to be a soaring success...
...Schubert, Schumann, Faure, Wolf, Debussy, and so on, her program was divided between Cantata No. 51 of J.S. Bach ("Jauchzet Gott in allen Landen"), setting by various composers of Goethe's "Rastlose Liebe" and Paul Verlaine's "Clair de lune," along with the cycle On This Island by Benjamin Britten to poetry of W. H. Auden...
Relaxation is the hardest, but also the most necessary quality for a performer to attain. It was only in the Britten, where Miss Wilsen did not have to struggle with a less-than-familiar language, that her performance got off the ground and even ended the program with a lively, humorous flair. All in all it was an admirable maiden recital and I am sure those who were there look forward to hearing from Miss Wilsen again...
...Harvard Glee Club and the Radcliffe Choral Society, under the direction of Elliot Forbes, unleashed a mighty force de frappe in a program calculated to drive the audience into an unholy frenzy. The first half featured delicate works by Elizabethans William Byrd and Thomas Tallis and neo-Elizabethan Benjamin Britten. But after intermission the choir was joined by the Harvard-Radcliffe Orchestra in a performance of Carl Orff's Carmina Burana, a bacchanale celebrating the headiest side of springtime...
...chorus used its spread across the wide Sanders' stage to outline the spicy counterpoint of the two pieces by Britten with an exaggerated stereophonic effect. In the Choral Dances the sopranos (for the first of many times during the evening) failed to negotiate wide leaping sections in a high register. The result was a forced tone and faulty intonation. All four sections of the choir had this difficulty whenever the untrained voices moved out of comfortable singing ranges or attempted passages of uncommon technical difficulty...