Word: gobbi
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Dates: during 1950-1959
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...past the Lyric has put on many a fine, star-heavy performance, and last week's cast was again impressive: Viennese Soprano Leonie Rysanek as Aïda, Italian Mezzo-Soprano Giulietta Simionato as Amneris, Swedish Tenor Jussi Bjoerling as Radames, Italian Baritone Tito Gobbi as Amonasro. But the stage sets looked as though they had been resurrected from an early copy of the Victor Book of Operas: cluttered scenes with every temple, tower and palm frond rendered in tedious detail. And Paris Opera Conductor Georges Sebastian throttled the tempo to a crawl, once even goaded Tenor Bjoerling into...
...voice was as beautiful as ever, but she displayed an alarming tendency to soar to high notes and then to wander around dazedly for several bars while she tried to come down again. Bjoerling's lyric tenor lacked the heroic style that the role of Radames demands, and Gobbi was far from his compelling best. Only Mezzo Simionato sang with the range, color and fire that her fans have come to expect of her. The voices of the supporting singers were lost in the huge house. "No wonder he can't sing," said one observer watching the messenger...
Verdi: Simon Boccanegra (Victoria de los Angeles, Tito Gobbi. Giuseppe Cam-pora, Boris Christoff; Rome Opera House Orchestra and Chorus, conducted by Gabriele Santini; Capitol-EMI, 3 LPs). Verdi constructed his stately, somber-hued monument to paternal love and loyalty midway in his career, saw it fail at the box office and later agreed with the public that it was a "monotonous and cold'' work. Nevertheless, he returned to it after 25 years and extensively revised it. Not often performed, the revised Boccanegra is a fascinating melange of early Verdian flamboyance and late Verdian depth. In this...
Such fighting words propelled Bing into the kind of operatic hassle usually reserved for prima donnas. San Francisco's Vienna-born Kurt Herbert Adler tore into Vienna-born Rudi Bing, pointed out that the San Francisco company has welcomed such artists as Tebaldi, Del Monaco, Christoff, Siminonato, Valletti, Gobbi, Schwarzkopf and Rysanek for their U.S. debuts, can boast a list of U.S. premieres that puts the Met to shame. Last week San Francisco gave the first U.S. stage performances of two short works by German Composer Carl Orff-Die Kluge and Carmina Burana. Other noted San Francisco firsts: Walton...
Rossini: The Barber of Seville (Maria Callas, Tito Gobbi, Luigi Alva, Nicola Zaccaria, Fritz Ollendorff; Philharmonia Orchestra and Chorus conducted by Alceo Galliera; Angel, 3 LPs). Callas' adroitly wrought Rosina strikes a precarious balance between bubbly naivetè and a subliminal Latin wisdom as shrewd as a fishwife's eye. The Callas voice is in soaring form, buttressed by Baritone Gobbi's smooth, superbly flexible rendering of the role of Figaro and Basso Zaccaria's sumptuous, tomfoolish Basilio. Conductor Galliera provides the coherence and dramatic drive necessary to Rossini's comic frenzy...