Word: chorused
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Dates: during 1950-1959
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...accident ("Where did I get the nerve?" muses the soprano after telling off Xerxes), but as the melodramatic cliches become less widely spaced the audience turned partisan, hissing the villain with all its might. As is proper in a drama of love, war, and deception, there is a chorus strutting about occasionally, singing things like "Prepare to fight with skill and might," and a priestess (attractively played by Elizabeth Theiler) going through a mystic ritual-dance...
...high notes to make her long and beautiful aria really affecting. On the other hand, the low notes of the contralto aria were the ones that gave Barbara Blanchard the most trouble; perhaps a reversal of the parts might have benefitted both ladies. In the incisive opening chorus and the stirring chorale at the work's close, the small chorus proved to be simply too small. One can appreciate Harbison's attempt to scale down a reading of a Bach cantata but, nonetheless, the chorus must be large enough to be heard...
...President scarcely had time to sing a second chorus of postvacation blues: he was too busy. Though he ducked a press conference, he presided over meetings of Republican congressional leaders, the National Security Council and the Cabinet, as well as over the swearing-in of Secretary of State Herter and Special Consultant John Foster Dulles. He also opened a new chapter in his drive for a balanced budget by briefly taking advantage of the public-opinion spotlight focused on the I.C.C. meeting and on a meeting of the National Association of Manufacturers...
...Savoy contralto, and Susan Stone makes the scene in a smaller role. But the singing in certain other roles encroaches on the eyebrow-raising, and conductor Danny R. Moates, equal to his responsibilities for the most part, has failed from time to time to give the members of his chorus much in common...
Aside from this unfortunate bugbear, the performance was very good, with the soft sections that the chorus does so well coming over especially beautifully. The very fast passage work was a little blurred, and the diction is not as clear as it has been. But the sensationalism, the milking of each piece for the last ounce of "effect" has also gone, and the resulting straight readings are more honest and rewarding. This was particularly evident in Bach's Motet No. 1, also for double chorus, a capella, which preceded the Thompson...