Word: giordano
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Judges James L. Gibbs, Social Relations tutor, and Albert V. Tucker, Teaching Fellow in History, awarded the decision to the Dudley team of John Murphy, Anthony Giordano, and Larry Tafe (Rebuttalist) chiefly because of their slight edge in presentation. Charles Nicholas, Robert Lifson, and Bryan Wilhelm (Rebuttalist) spoke for Kirkland. Wilhelm was praised by the judges for his outstanding rebuttal...
Market Up. Already the bomb craters in the Plaza de Mayo were filled in and paved over. The jittery stock market picked up. The Colon opera house found the tension relaxed enough to present Giordano's Andrea Chenier, which sings of a French revolutionary's doomed, gallant fight for what many Argentines still wish they had: liberty. By midweek the army troops who had occupied central Buenos Aires were back in their barracks, and General Lucero publicly handed back the special "repression" powers that for another, more ambitious man might have been an admirable springboard to total power...
...Seville siren into a beautiful American Negro factory girl, took the toreador from the bull into the prize ring and turned the words from Spanish-flavored French into minstrel-show English. With all these modern wonders, the Metropolitan Opera dared to compete, by staging a revival of Umberto Giordano's opera of the French Revolution, Andrea Chénier, a work it has not done in 21 years...
...Groove. Giordano's 58-year-old opera, loosely based on a true episode, tells how the young Poet Chénier becomes successively enamored of the French Revolution and a French beauty, only to lose both his love and his own head to the guillotine. Also swept up in the swirling action is a servant who turns revolution ary and finds his new power as bitter as his old servitude. The Italian libretto is full of mysterious letters, whispered warnings and preposterous melodramatics. Nevertheless, the opera does convey tremendous theatrical excitement and a sharp sense of the great revolutionary...
...Composer Giordano (1867-1948) made his most successful effort with Chénier (others: Fedora, Madame Sans-Gene). The opera's melodies may sing a little too much like Verdi's without Verdi's dramatic thrust; its flow may be as slippery as Wagner's without Wagner's soaring sense of continuity. But it has a ravishing choral addio (Act I), a roof-raising farewell duet, and cannily applause-getting arias for all of its principal singers...