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...view-point, but only in regard to comic opera. I still feel the advantages of doing tragedy in the original are unassailable. At any rate, Ory is being done in a colloquially up-to-date and often witty rhymed English translation by Robert A. Simon. And the diction of the singers is surprisingly good...

Author: By Caldwell Titcomb, | Title: Count Ory | 11/20/1958 | See Source »

...winners (winnowed from 1,000 applicants) were hampered by shaky Italian diction and an occasional tendency to overact from sheer youthful exuberance (Painter Marcello, in Act I, hurled his brush clear offstage into the orchestra pit). But audience and critics were impressed by the Americans' voices and technique. The best voice in the group, many thought, belonged to Tacoma (Wash.) Baritone Roald Reitan, who sang briefly last year with the San Francisco Opera. Ohio-born Tenor Jean Deis, who was told when he was nine that scarlet fever would prevent him from ever speaking again, also got a generous...

Author: /time Magazine | Title: Music: Debut in Florence | 9/22/1958 | See Source »

...dangling" Sir Peter Teazle, and Cavada Humphrey, his young bride Lady Teazle. Adrian is a past master of timing and comic acting--a second "incomparable Max." And, as usual, it was a joy to watch Miss Humphrey's lovely carriage and to listen to her crystal-clear diction...

Author: By Caldwell Titcomb, | Title: A Summer Drama Festival: Tufts, Wellesley, Harvard | 9/18/1958 | See Source »

...other roles were well handled, the only jarring notes being contributed by Thomas Hill (Sir Oliver Surface), who, fine as he is in the more realistic modern repertory, could not attune his diction to the period style required here...

Author: By Caldwell Titcomb, | Title: A Summer Drama Festival: Tufts, Wellesley, Harvard | 9/18/1958 | See Source »

...years ago). Her performance in either play alone would have been an impressive achievement. But her ability to undergo such a transformation during intermission was almost uncanny. And this was much more than a change of costume, makeup and wig; she did it through her posture, gait, gesture, diction and other ways. Through extraordinary muscular control, she was able to change her whole repertory of facial contours from those of a stunning beauty to those of an uncomely nobody. Genius is not a word to be tossed about lightly; but Miss Page has unmistakable marks of genius. She has moments...

Author: By Caldwell Titcomb, | Title: A Summer Drama Festival: Tufts, Wellesley, Harvard | 9/18/1958 | See Source »

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