Word: cosy
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...Today is Mozart's birthday," Boris Goldovsky said Wednesday evening, "and we are dedicating this performance to him as a birthday present." The New England Opera Theater's Cosi is competent and buoyant enough in the singing, rather dry and prosaic in the orchestral playing. Mr. Goldovsky conducts almost every number too fast, but the fine voices and fluent technique of the singers (especially the men--John McCollum, Robert Paul and Ronald Holgate, and Wednesday's Fiordiligi, Marguerite Willauer) go at least a little ways toward rescuing the situation. The staging, also Mr. Goldovsky's, is brisk though not particularly...
...operatic production, but it is an inadequate production of Cosi, for which good intentions are not enough. If it is right to bring Mozart before the public even in slightly marred versions, it is also right to lavish exceptional amounts of care and money on him, and Wednesday night's under-rehearsed orchestra evinced neither. The New England Opera Theater might also remember this when producing Mozart: except for a small amount of recitative, a professional company has no right to cut the operas. Length is no excuse; audiences can easily take three and a half hours of Mozart...
...AFTERNOON CONCERT. Mozart, Cosi fan Tutti overture; Schumann, Trio no. 3 in G--opus 110; Lo Presti, The Masks; Petzold, Sonata no. 2 for Brass; Sibelius, Peleas et Melisande; Dohanvi, Quintet for Pf. and strings; Haydn, Symphony 180 in D; Schubert, Deux Marchas Characteristique; Khrennikov, Symphony no. 1 in B flat; Handel, Suite for Harpsichord...
...Carl Orff's lightly lyrical Carmina Burana, both conducted by Leopold Stokowski. The audience took to the double feature so enthusiastically that an additional performance was scheduled for last week. The season's second big hit: a superb production of Mozart's crystalline comic masterwork, Cosi Fan Tutte. Vienna-born Director Rudel, 38, is also offering the standards-Madame Butterfly, Boheme...
...their original language. Director Callaway set such a high standard with last year's staging of Richard Strauss's Ariadne auf Naxos that one critic feared listeners would expect a triumph every time. In fact there have been many triumphs, including standout productions of Mozart's Cosi fan Tutte and Monteverdi's Orfeo. Audience response matched the performances: paid season subscriptions rose from 322 in 1957 to nearly 2,000 this season...