Word: godunov
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Opera (NBC, 2:30-4:30 p.m.). Season debut of the well-regarded NBC Opera Company in Boris Godunov, starring Giorgio Tozzi...
...industrial research. Spotting a picture of bearded Karl Marx on the wall, Knox moved Khrushchev to guffaws by remarking: "I didn't know that Marx was a Cuban." When Rumania's Communist leaders came through town, Khrushchev took them to a 3¾-hour performance of Boris Godunov at the Bolshoi Theater, where he loudly applauded U.S. Basso Jerome Hines. Afterward Khrushchev jovially raised a glass as his pal First Deputy Premier Anastas Mikoyan offered toasts in champagne to culture and, smiling at the singer's pretty wife, to American women. "May God bless you," responded Basso...
...first time that a Russian audience had heard an American-born singer in the title role of Boris Godunov. For his passionate and athletic performance -in faultless Russian-of the tragic Czar, enormous (6 ft. 6 in.. 195 Ibs.) Metropolitan Opera Bass Jerome Mines, 40, drew a tumultuous standing ovation and six curtain calls from the opening night crowd at Moscow's Bolshoi Theater. Said the Hollywood-born Hines, modestly trying to sound surprised at the cheers: "How do you think Americans would feel if they saw Yuri Gagarin on the launching pad at Cape Canaveral...
...with such skill (and without exaggerated theatrics) that even famous tenors and sopranos find themselves in danger of being upstaged in his presence. De Paolis seems able to play any role at all-Goro, the wizened Japanese matchmaker of Butterfly; Shuiski, the crafty adviser to the Czar in Boris Godunov; Spoletta, the evil police agent of Tosca; Don Basilio, the fatuous music master of Figaro. His palsied Emperor in Turandot is one of his most recent and brilliant successes. In Tales of Hoffmann he has four roles (Andres, Cochenille, Pitichinaccio and Frantz) and four rapid-fire makeup changes. This week...
...make singing his career, soon landed a spot with Sweden's Royal Opera, was invited to La Scala. In the course of singing about Europe and at the Met, he has picked up over 70 operatic roles, many of the non-Italian wing, including Grigori in Boris Godunov, Tamino in The Magic Flute - and most notably the title role in Gounod's Faust. His voice is not par ticularly large, but it is passionate, beau tifully placed, and as finely responsible to the shape of the music as any in opera...