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Maid for Figaro. She turned from the girlish Gilda to the worldly Rosalinda in Fledermaus, and brought that role, until then one of the weakest in the Met's comic hit, up to par or better. As the saucy Musetta in La Bohème, she was gay in her waltz song, movingly sympathetic with the dying Mimi in the last act. Last week she sang her first Susanna in The Marriage of Figaro. Her tone, as ever, was as pure and clear as a mountain stream; her coloratura was as neat as needlepoint. A singing actress who loves...

Author: /time Magazine | Title: Music: Visitor from Vienna | 1/14/1952 | See Source »

Ronald Roseman's oboe playing in Hindemith's Sonata for Oboe and Piano was the best in months. His flawless technique and intelligent phrasing made the Sonata sound perhaps even better than it is. Gilda Hoffman's handling of the tricky piano parts was more than adequate...

Author: By Lawrence R. Casler, | Title: The Music Box | 12/19/1951 | See Source »

HILDE GUEDEN, Vienna-trained soprano, who made her Met debut a fortnight ago as the girlish Gilda in Rigoletto, and will sing her first Rosalinda in Fledermaus this week, with Patrice as Adele...

Author: /time Magazine | Title: Music: Soprano from Spokane | 12/3/1951 | See Source »

...Tree Grows in Brooklyn, "because I didn't want to scrub floors for a year." * Nonmusicians define a coloratura voice as one that plays musical chairs among all the right notes without ever sitting down. * Marion Talley was five months younger when she made her debut as Gilda...

Author: /time Magazine | Title: Music: Soprano from Spokane | 12/3/1951 | See Source »

Downes cheering. The whole critical fraternity joined in bravos for another debutante: pretty, golden-haired Viennese Soprano Hilde Gueden, who pinpointed Gilda's top notes as gracefully as she did Gilda's girlish character...

Author: /time Magazine | Title: Music: Chimes at the Met | 11/26/1951 | See Source »

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