Word: gianna
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...operas, only Nabucco and Macbeth displayed any real staying power; the rest moldered in obscurity. Now, in opera's relentless campaign to resurrect the least-known works of the best-known composers, some of Verdi's early operas are being given a fresh hearing-with unpredictable results. Gianna d'Arco (1845), performed this month by Manhattan's American Opera Society, was a thundering flop. But Attila (1846), as staged last week by the enterprising opera company of Graz, Austria, proved to be a rough diamond...
...recording of Poet Robert Browning shouting "Hip, hip, hooray!" for Edison's new machine, and encompasses every form of music right up to the rock 'n' rollers. "Today's trivia," explains Striker, "may interest tomorrow's historian." Singers such as Resnik, Sutherland and Gianna d'Angelo visit the Institute to hear how their predecessors interpreted a role, conductors and musicologists to hear little-known works...
Rossini: The Barber of Seville (Gianna d'Angelo, Renato Capecchi, Carlo Cava, Nicola Monti, Giorgio Tadeo; the Bavarian Radio Symphony Orchestra, conducted by Bruno Bartoletti; Deutsche Grammophon, 3 LPs). As an effervescent Rosina, Soprano d'Angelo confirms the promise of her recent Metropolitan opera debut, but the honors here belong to Baritone Capecchi, whose Figaro is vibrant-voiced, flamboyant and believable...
With little of the drum-beating that preceded the debuts this season of Anna Moffo, Eileen Farrell and Leontyhe Price, the Metropolitan Opera last week introduced Manhattan audiences to yet another fine American soprano-Hartford-born Gianna D'Angelo. Soprano D'Angelo, 31, made her debut portraying one of the silliest of all operatic heroines, Gilda in Verdi's Rigoletto. But she triumphed over the role with such apparent ease that by evening's end she was firmly fixed as one of the Met's most promising sopranos...
...proved to be in the 19th century operatic tradition-full of flowing melody, dramatic action, swift scenic shifts from the quiet cloistered walls to the reverberating streets of revolutionary Paris. The opera's most touching scene occurs in Act I, when the Carmelite Mother Superior (movingly sung by Gianna Pederzini) reveals on her deathbed to the sorrowing nuns her fear that God has abandoned her. Aided by La Scala's magnificent sets, the opera builds from that point to a dramatic third-act climax in which Blanche's calm recitation of Deo Patri Sit Gloria is counterpoised...