Word: countess
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Dates: during 1970-1979
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...moments, then get rid of it in a hurry. Despite a few intonation problems in the high range, Soprano Patricia Craig of the New York City Opera made a soulful Lisa. The Italian soprano Magda Olivero brought her legendary stage authority to the role of the Countess, although there is not much left of a once distinctive voice. As the obsessed Herman, Jack Trussel was the highlight of the show. Here is an American singing actor with a riveting, haunting stage presence and a clear, powerful tenor voice to match...
...sadly, remind us of what a good production might have been like. There are, for example, the performances of Robert Suttton as Henrik Egerman, Fredrik's tormented son, whose passion for the ministry cloaks his passion for his stepmother, and of Caroline Jones, who is genuinely sympathetic as the Countess Charlotte Malcolm. If Charlotte's husband Carl Magnus (Nick Littlefield) is somewhat wooden, his stiffness is forgivable on two counts: first, he is, after all, no more than a "tin soldier," and secondly, he can sing. In this show, that is no small boon. On the other hand, Bonny...
Most of the other actors skillfully manipulate their minor roles with characteristic panache. Sarah McClusky's bubbling Countess Rostova is particularly entertaining as is Tom Myers'' self-important Napoleon Bonaparte. Chris Clemenson squeezes the wisdom of General Kutuzov from a wonderfully wizened frame. And John Blazo as the soldier Kuragin easily seduces Natasha with a slickness worthy of the serpent in the garden...
...shaped, 7-ft.-long slab of teak, rosewood or African kevazenga; it rests on a mirrored aluminum pedestal and delivery of $10,000 to Lehigh-Leopold Furniture Co. Or she may pin her love on his chest, in the form of a $3,000, one-of-a-kind Countess Mara necktie, described as a "blossoming 14-karat gold rose studded with genuine brilliantly faceted diamonds, mounted on imported silk-cut velvet...
...stageworthiness, Figaro lives by its music, as any great opera must. It has been many years since New York has heard it sung and played so exquisitely. To describe the entire cast, the word perfect for once seems apt. Among the women, British Soprano Margaret Price sang the Countess with an appealingly fresh vocal bloom and a masterly control of the Mozartean style. From New York's Frederica von Stade came a Cherubino of distilled soprano beauty and ebullient range of boyish emotion. Soprano Mirella Freni remains the best Susanna of the day. Belgium...