Word: domingo
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...quota for Rumanian immigrants was minuscule, and Steinberg was over the limit. While a relative in New York tried at short notice to persuade The New Yorker to sponsor him in the U.S., Steinberg spent a sweltering Fourth of July on Ellis Island and was deported to Santo Domingo on a cargo boat...
...Having come only recently to the roles of Leonora and Manrico, Sutherland and Pavarotti will undoubtedly have additional things to say about them in the future. For now, it can be said that this is a bella voce album of the first order. Devotees of the Leontyne Price-Placido Domingo set, or Price-Richard Tucker, or especially the old Zinka Milanov-Jussi Björling classic-all much more dramatically vivid-may safely keep them on the shelf, however...
...winter league's opening day in the baseball-mad Dominican Republic. Yet 9,000 sweltering Dominicans chose instead to crowd into Santo Domingo's new Sports Palace for a different event: the windup of the "Festival of the Family," a series of revival meetings. As the high-spirited, hand-clapping throng fell silent, a handsome, wavy-haired spellbinder named Luis Palau took the microphones and thundered about an impending "climax of history." After more than an hour onstage, Palau appealed for commitments to Jesus Christ?and converts streamed onto the playing floor...
...high range, the voice moves with greater facility than most voices nowadays--but that's only because today's crop of singers are unable to handle high notes. Jose Carerras or Placido Domingo often sing not just arias, but entire acts a whole step down. Today Tenors with "tops" are special phenomena. One need only recall singers like Giacomo Lauri-Volpi, whose upper range range with a clarion brilliance that would bury any Pavarotti high C. The great Fancesco Tamagno, the original Otello and perhaps the greatest Otello of all time, would often take arias up a half step...
...today's public seems to accept today's tenors, Italian and otherwise. Pavarotti and Domingo thrill audiences the world over with what once would be considered dull singing, a trend that confirms my suspicion of a steady decline in operatic sensibilities. This decline may have started at roughly the same time that Opera began to die as an art form: something which occurred after the death of Puccini and before that of Benjamin Britten. We are now an artistically starved audience, looking at the operatic stage not as an expression of contemporary life, but as a musical museum, where singers...