Word: contraltos
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Dates: during 1940-1949
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...Club was obviously well trained by Professor Woodworth. They made no slips at all Friday afternoon, and the one minor error, Saturday, when, in one passage Kousse- vitzky cued them in a measure too late, was not their fault. The quartet of soloists included Frances Yeend, soprane; Eunice Alberts, contralto; David Lloyd, tenor, and James Pease, bass. Mr. Pease has a rather rough voice, and his intonation in the opening recitative was not very accurate. But the singing of the other three soloists was fine. The blending of the voices in the ensemble was especially noteworthy...
...before tried the big, dramatic tenor role of Radames; Toscanini's favorite soprano, red-haired Herva Nelli, who had had to hold herself in as Desdemona in his 1947 broadcast of Otello, was getting a chance to open up as Aida. He had picked three newcomers: slim Norwegian Contralto Eva Gustavson (Amneris), who arrived in the U.S. last October, young Canadian Bass-Baritone Dennis Harbour (the King of Egypt), who a fortnight ago won the Met's radio auditions, and Soprano Teresa Randall (the Priestess), a finalist in the same contest. Baritone Giuseppe Valdengo (Amonasro), big Bass Norman...
Tonight's performance also includes compositions by Randall Thompson '20, Alan Hovhaness, and Gardner Read. Besides Foss, soloists are Jean Harper, contralto, and Rudolph Nashan, trumpet...
...movements. That was certainly the case last weekend. The Orchestra faithfully pledged through the first three movements. There were occasional groans from the audience when one of the brass players (hired specially to meet the requirements of Mahler's bloated score) went berserk. But starting with Nan Mcrriman's contralto solo in the fourth movement, things began to pick up, and by the time the Finale came along, everyone had forgotten the preceding movements...
...Town Hall, Contralto Ferrier had no topnotch Glyndebourne production behind her, although she did have a familiar Euridice opposite her: U.S. Soprano Ann Ayars, who had sung the role with her in England and on records.#&134; But Conductor Thomas K. Scherman's Little Orchestra (38 players) and 40 singers from the Westminster Choir got into the graceful spirit of Gluck's music with the overture, and stayed in it to the last gaily triumphant note. It was, however, the dramatically restrained passion of Kathleen Ferrier's singing, in a voice that is even and full through...