Word: duets
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Dates: during 1940-1949
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...Ferro" and Pia have been singing and murmuring to each other ever since. Married in 1941, they delighted Italy and South America with their Tosca, La Boheme and Werther, but the U.S. had only heard them sing together in concert. They ended each concert with the Duet of the Cherries from the first opera they had sung together in Palermo...
...superior to that in his more famous operas. As presented in Mr. Goldovsky's adaptation, the first act was highly conventionalized and contained too much plot exposition in the form of recitative--arias were scarce, in fact. The second act starts, however, with a superb aria and a duet, a brilliant quartet follows, and from then on the opera becomes what Mr. Goldovsky calls it, "unquestionably one of the greatest musical masterpieces of all time...
...stage was a program fit for a king: Destinn singing arias from Aïda, and Melba arias from Romeo and Juliet; Tetrazzini and John McCormack in a duet from The Barber of Seville. Then came the evening's climax: the much-bruited new Russian ballet, whose 21-year-old star, Vaslav Nijinsky, had all Europe abuzz with the grace of his dancing and the power of his leaps. That night, London's applause was added to the Continent...
Wagner: Tristan und Isolde, Love Duet (Helen Traubel, soprano; Torsten Ralf, tenor; Herta Glaz, contralto, with the Metropolitan Opera Orchestra, Fritz Busch conducting; Columbia, 4 sides). Traubel & Ralf take the famed love duet faster than Flagstad and Melchior. The result is surprisingly warmer, and the orchestral setting is fuller. Recording: good...
Individual competence characterized almost all of the principal roles. As the raisonneur and heavy-duty comedian, Walter Aikman showed confidence and good taste, while his various musical numbers were well-sung. William Whitehead appeared only in the last act, but his duet "Down Among the Dead Men" with Aikman was the high point of the show. Indeed, the ensemble numbers throughout showed more skill and confidence than the solos. Francis MacNutt's general buffoonery as Hodge, the manservant, carried the play through its weakest moments with uproarious success. Dick Murphy and Peter Davison were properly romantic over Marty Hopkins...