Word: giorgio
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...GIORGIO Tozzi, 35, a tall (6 ft. 1 in.), big-shouldered Chicago-born bass, made his New York debut as Tarquinius in the 1949 Broadway production of Benjamin Britten's Rape of Lucretia, but after the short-lived Rape closed, Tozzi wound up a penniless student in Italy (he recalls being so weak from hunger that he could climb to his third-floor room only once a day). Since then, he has sung widely in Europe, last summer toured as Emile de Becque with Mary Martin in South Pacific. A onetime baritone, Tozzi has a deep, warm voice...
...story arcade made up of Doric and Ionic columns that frame intervening arches supported by free-standing columns-was so brilliantly successful that it has since been copied the length and breadth of Europe. A decade later he was the architect Venice turned to for the plans of San Giorgio Maggiore, one of the most beautiful, classically ordered churches in the city. But it was the country villas, built for a merchant aristocracy that had recently discovered the bucolic life, that impressed succeeding generations...
...Here is eternal fame!" exclaimed 16th century Artist and Chronicler Giorgio Vasari of Simone Martini, the Sienese painter who lived 200 years before Vasari's time. What provoked Vasari's admiration and envy in this case was not Martini's painting, which Vasari noted was "rapidly perishing," but the fact that Petrarch had mentioned Martini in two sonnets. Last week history reversed Vasari's order of precedence. Few but antiquarians care whether Martini was mentioned by Petrarch or not, but the discovery of a hitherto unknown Martini Madonna and Child (see cut] is the talk...
...longer cumbrously on horseback) glowed dimly through the iron grille of a crypt, like a sea creature in a grotto. Through the mellow moonlit streets moved the kind of cast only a great opera house could muster: Cesare Siepi, Eleanor Steber, Lisa Della Casa, Roberta Peters, Cesare Valletti, Giorgio Tozzi, Fernando Corena, Theodor Uppman, all in top form...
...them perhaps one in ten might interest future ages. Standout shows within the show were a collection of pale and wan but faultless abstractions by Britain's Ben Nicholson, the weightless, rainbow fantasies of France's Marc Chagall, and 30 dim-dusty canvases by Italy's Giorgio Morandi. Nicholson and Chagall were considered stiff contenders for the 300,000-cruzeiro ($3,780) grand prize. After the usual frenzied politicking, the 17 international jurymen settled on Italy's Morandi...