Word: falla
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Dates: during 1950-1959
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...second half of the program was devoted to Manuel De Falla's Nights in the Gardens of Spain with Luise Vosgerchian as piano soloist. This luminous work, which uses the piano more as a part of the orchestra than does a formal concerto, combines evocations of Spain and its festive music with the muted orchestral transparencies of French Impressionist compositions. The orchestra and its marvellously accomplished soloist gave the work a stunning reading. The rapport between them was evident from the first and, throughout both Mr. Senturia and Miss Vosgerchian brought out DeFallas alteration between Latin passion and delicate poetry...
...best singers, dancers and composers. The festival's staple program performed by both visiting and local artists contains such works as Mussorgsky's Boris Godunov and Tchaikovsky's Swan Lake, with a sprinkling of more modern works by composers such as Ernest Bloch and Manuel de Falla. A big annual drawing card: a great variety of fine wines from all parts of Yugoslavia...
...novelty on the program was Falla's ballet music El Amor Brujo, the best known section of which is the Ritual Dance of Fire. Based on Spanish folk spirit, Falla's music is exotic, feverish, and sometimes haunting. Soloist Malama Providakes sang with an idiomatic flavor reminiscent of the great contralto Conchita Supervia, with a dark, full-blooded tone. There were several lovely Oboe solos from Cynthia Deery, while the Orchestra as a whole played with both fire and precision...
Students at Tanglewood this weekend--the next to last one of the season--will have the chance to hear works by Barraud, Falla, Ravel, and Stravinsky on Friday and by Moevs, Mozart, and Prokofieff Saturday evening. The Sunday concert will feature Copland's Symphonic Ode, Tchaikovsky's Violin Concerto with Zino Francescatti as soloist, and Schumann's Symphony No. 2, in C major. Conductors will be Eleazor de Carvalho Friday, Leonard Bernstein Saturday, and Charles Munch Sunday...
Miss Providakes has a rich and well placed voice, full throughout its range, and what is more important, she knows how to use it to best effect. In the Ravel and de Falla songs the voice was full-throated and sensuous. Where the music seemed to indicate some degree of brittleness and harshness the tone was drawn out to wire tautness. Debussy's "Trois Chansons de Bilitis," the best job of collaboration of the evening, were done with great delicacy and warmth. The result here and in a group by Faure was a fine sense of communication to the audience...