Word: chorused
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Dates: during 1950-1959
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...divas' temperaments, functions with pistonlike smoothness. McGinness once had to calm a frightened 17-year-old named Patrice Munsel, making her professional radio debut on the show, with a chocolate ice-cream soda. And recently, McGinness had to "play mother hen to mollify some embarrassed" ladies of the chorus who were undressing behind a flat that was suddenly "flown"' to the ceiling...
...dominating figure of the evening was Mr. Poto. His impeccable technique kept every passage under the strictest control. The balances were outstanding at all times, and the precision of the players was unusually good. The chorus and soloists seemed to find no difficulty in following his decisive beat. In more less technical matter, however, he was not so strong. He showed little imagination in interpretation, and the less dramatic section suffered especially from a lack of phrasing and nuance. His conception of the music was generally not clear, resulting frequently in a formlessness which could have been avoided...
...others'. Singing from in back of the orchestra, the men's voices sounded somewhat thin. Curiously enough, this was more apparent in the solo arias than in the ensembles, where the balance was much better. Miss Hunter performed with spirit and facility, and her singing with the chorus was particularly effective. Mr. Beveridge, the only non-professional soloist, was not in the least overshadowed, and he managed his voice skillfully throughout the two-octave range of his part. Mr. Copplestone also sang with feeling and clarity...
...Frank Sinatra. Sinatra can give life even to the remarkedly poor lines he is given and he does, of course, sing very well. He is quite effective as a night-club singer who substitutes his conquests over women for a financially prosperous existence. When Sinatra tells an unwilling chorus girl, "If you knew what you were throwing away, you'd cut your throat," hundreds of middle-age matrons nod silent agreement...
...cheer about the next night, too. when the new Dallas opera staged L'ltallana in Algeri, a much-neglected Rossini romp. The house was half empty-two of the city's most popular debutantes were giving a dance that night. Despite major obstacles-including a Texas chorus that had a lot of trouble learning to sing in Italian-the production turned out to be topnotch, with bright sets, smooth and funny staging. The cast, mostly imported and mostly unknown in the U.S. (except for brilliant Mezzo-Soprano Giulietta Simionato). had been so ably picked by Impresario Kelly that...