Word: gedda
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...Concerts, is regarded as a sound businessman. His abilities as a starmaker in the Hurok tradition are less well known. Despite the recent depletion of its talent roster, Hurok Concerts still handles a respectable array of artists, including Van Cliburn, Sviatoslav Richter, Henryk Szeryng, Nathan Milstein, Janet Baker, Nicolai Gedda and Artur Rubinstein. One of the joys of the new Shaw-Hurok liaison, said Shaw last week, is that now Guitarist Bream and Mezzo Baker can give joint recitals in the U.S., as they have in England. One of the things wrong with the business-most music managers being...
...Stage Director John Dexter eliminated a half-hour's worth of ballet (wisely, considering the Met's declivity for dance) and edited the work down to three acts, running a relatively tidy 3½ hours. Then there were the principal singers: Sopra no Montserrat Caballe, Tenor Nicolai Gedda, Baritone Sherrill Milnes, Bass Justino Diaz. They constituted the kind of front-rank cast that the company does not regularly assemble these days. Nor does the Met orchestra play every day with the snap and precision that it gave Conductor Levine...
Berlioz: La Damnation de Faust, with Nicolai Gedda, Jules Bastin, Josephine Veasey (London Symphony Orchestra and Chorus, Colin Davis conducting; Philips; 3 LPs; $20.94). This work exists on one of the composer's loftier plateaus of the mind rather than on a workable theatrical level. Thus Damnation is in many ways especially well suited to armchair listening. Continuing his masterly unprecedented series devoted to Berlioz's major works, Davis again conducts with suave professionalism and lightning-like flashes of insight and revelation...
...starts with a Tosca duet by Joan Sutherland and Tito Gobbi, grows into the trio from Faust, the Verdi quartet from Rigolctlo, a Wagner quintet from Die Meistersinger, and finally the sextet from Donizetti's Lucia di Lammcrmoor, in which the two are joined by Nicolai Gedda, Jerome Mines, Mildred Miller and Charles Anthony...
Primary Spark. Yet Mehta's motions are by no means shallow showmanship. They help make his performance "live all the time," in the words of Met Tenor Nicolai Gedda, who sings under Mehta in Carmen. Says Gedda: "He does not drag and he does not rush; he has the kind of pulse that is absolutely right." This is Mehta's essence as a musician: an instinct for the living pulse of a piece of music, along with a molten core of romantic feeling and a point-of-no-return commitment...