Word: duet
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...bobbing heads of the first violins he glared meaningfully at Conductor Karl Alwin, tried vainly to force a faster tempo. Suddenly the audience gasped, the musicians faltered. The brawny arms of Basso Chaliapin were beating out an aerial quick-step at the orchestra in the middle of a duet. Before the nervous and fascinated audience, Conductor Alwin brought the orchestra to order with a sweep of his baton, held it to his chosen tempo for the rest of the opera. Sequel: A riled audience reserved applause for minor singers. An indignant press flayed the impertinence of the rebellious foreigner, Feodor...
...carved in the recesses of the cathedral. Today modern Quasimade who have the ambition to crewl around the less obvious parts of the Princeton Graduate College have similar company, brought down to modernity and constructed with an eye for present collegiate tendencies. There is a gargoyle representing an amorous duet in a roadster, there is another which shows a radio fan in the midst of his revelry. And so tomorrow, or whenever roadsters and radios are superseded by other curiosities, the archeologists will find new fields for delving and a future Taylor can expatiate on the involutions of "The Jazz...
...program follows: Duet Second Sonata A. Tataranis and F. Dunning, Radcliffe Address--"Beethoven." Dr. Kellermann Songs--An die Geliebte Vertargenhelt Die Lerche", and "So Jemand sprich; Ich liebe Gott" M. Desmond, Radcliffe Song--"Die Himmel Rubmen en ewigen Elire", and "Seid umschlungen Millionen" A. H. Duhig '10. Violin Solo--Adigio from seventh Sonato Mrs. H. Bosshardt Trio a. Adagio Movement of Fourth Trio. b. Gavotte in F. major Grela Hedlund, violin; E. MacDonald, cello; Z. Bayentz, plano
Critics were unanimous in their praise of score and singers. Though the music insists upon an old Puritan hymn, it has no particular American characteristics, being essentially just melodious, good, pleasant music. The love duet of the first act is probably the best example of its kind in American Opera. Sung in English, the words were intelligibly projected by the singers; Charles Hackett, particularly, excelled in clarity of diction...
...Choruses here and there excelled the earlier Puccini's, but the score as a whole seemed thick, noisy, lacking in coherence, stretched this way and that to cover three acts for which there was insufficient substance. Not the old Puccini at all, it seemed, until the concluding love duet and finale which was not his but his friend's, Franco Alfano's, who wrote it after his death...