Word: corelli
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...every Puccini fan dreams of hearing but rarely does. Awesome is the word for Birgit Nilsson's portrayal of Salome's final 14 minutes on earth. As for the Act I love duet from Otello, Soprano Teresa Zylis-Gara sings with disciplined creaminess, but Tenor Franco Corelli, alas, gulps phrases and swallows words as if he were drowning in the music rather than singing...
Schonberg further observed that "when one wolf starts howling, like Franco Corelli in Verdi's 'Di quella pira' from 11 Trovatore, the rest of the wolves join in, as in the choral sections of 'Di quella pira.' " He found that the best wolf virtuosos "start pianissimo, swell to a messa di voce to the sixth above, hold it sweetly and purely, then perhaps embellish to the upper partial before going down to a pianissimo and trailing off on an inconclusive microtonality near the tonic." Although some wolves have a range of more than an octave...
...Philharmonia offered an intriguing contrast of styles, periods, and pieces. In the opening work, The Concerto Grosso, Op. 6 No. 1 of Corelli, Alexander Schneider, who conducted, doubled as principal violin in the concertino. The work went along smoothly, indeed brilliantly, but the wisdom of Mr. Schneider's decision to combine roles is dubious. Unfortunately, the orchestra had a tendency, especially in the first movement, to enter just a fraction of a beat behind him, a problem which would not have cropped up if he were not playing. Nonetheless, it was a fine performance, with especially good work by cellist...
...year's schedule includes an interesting combination of classical and contemporary works, aided in part by a Rockfeller Foundation grant for the preparation of contemporary music. Sunday's concert, with Alexander Schncider conducting, consists of the Mozart Clarinet Concerto in A, K. 622, Stravinsky's Dumbarton Oaks Concerto, a Corelli Concerto Grosso, and the Mozart G Minor Symphony, K. 183. Later concerts will include Schoenberg's Kammersymphonie, Stravinksy's Concerto for Strings, Elliot Carter's The Minotaur, and Haydn's Oxford Symphony, all of them extremely interesting pieces...
...however, Bernstein fell in love with Composer Pietro Mascagni's original score, which calls for much slower tempos than the opera customarily is given. (His performance ran a full ten minutes longer than the normal 70 minutes.) Tension and excitement drained away as Tenor Franco Corelli and Soprano Grace Bumbry (Santuzza) dutifully sacrificed dramatic pacing to accuracy, concentrating on breathing deeply to manage the long phrases...