Word: corelli
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...program was ambitious and familiar, the only big surprise being a rare performance of the nine bars which were to be the Scherzo of the Schubert Unfinished Symphony. The first two movements were given a measured, careful reading which was typical of the whole performance. The concert opened with Corelli's Concerto Grosso Op.6, No.1, giving the strings a chance to shine, followed by a gracious but strong Beethoven 8th Symphony. The closing number, Rimsky-Korsakov's Russian Easter Overture called upon the sonority and balanced ensemble work which is perhaps the orchestra's greatest asset...
...Corelli: Concerto, Op. 6, #8 in G major; Beethoven: Missa Solemnis; Ravel: Trio in A Minor; Brahms: Seranade #2 in A Major; Mozart: Quintet in G Minor; Copland: Concerto for Clarinet and Orchestra...
...standard repertoire is secure, but which were treated in a manner reminiscent of the Orchestra's conspicuously poor performances of two years ago. Haydn's last symphony, No. 104, in D Major had at least the benefit of a spirited, well-played finale. But the rest of it, and Corelli's "Christmas" Concerto, which opened the concert sounded as if the orchestra were merely going through the motions. The intonation was unaccountably bad, the playing colorless, and the ensemble work in the winds unusually slipshod. The most noticeable defect was the strings' inability to play piano with any tone...
Vladimir Ashkenazy Plays Rachmaninoff, Liszt, Prokofiev (Angel). Russia's newest cultural export plays with ice-edged articulation and singing tone. The 21 -year-old pianist is at his best in Rachmaninoff's Variations on a Theme of Corelli, in which the keyboard sound swells and fades with the fitful ease of sunlight playing across water...
...Rome Opera, scene of Soprano Callas' celebrated walkout due to "lowering of the voice" (TIME, Jan. 13), the boards again groaned under the strain of artistic temperament. During a rehearsal of Verdi's Don Carlos, famed Bulgarian Basso Boris Christoff and Italian Tenor Franco Corelli craftily maneuvered to gain the coveted stage-center spot. By the time Act II's libretto called for Corelli to draw his sword in defiance of Christoff (who played Philip II, Don Carlos' father), both singers were ready to fight. They drew, and Verdi was forgotten as the prop swords swished...