Word: impresario
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Dates: during 1970-1979
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...respected figures in American regional opera, Kelly, who also co-founded and directed the Lyric Theater of Chicago and the Performing Arts Foundation in Kansas City, shaped his companies to perform a repertory of unusual, rarely done works and to showcase fresh imported talent. Outrunning the Met, the quick impresario arranged the U.S. debuts of Joan Sutherland, Montserrat Caballé, Jon Vickers and Teresa Berganza, and in 1954 brought Manhattan-born Maria Callas back to America. Four years later, in Dallas, she presented him with the definitive Medea...
...this exquisite setting, the company's excellent veteran musical director Julius Rudel last week introduced an offbeat operatic double bill consisting of Antonio Salieri's Prima la Musica e Poi le Parole (First the Music and Then the Words) and Mozart's The Impresario. Since both works deal with backstage intrigue, and both had their premieres together in 1786 on commission from Austria's enlightened Emperor Joseph II, the two one-acters would seem made for each other...
...lights went down after inj termission, the mercurial opening bars of Impresario's overture transformed the evening. By the standard of the composer's later works, Impresario is a trifle. Its characters are types-Mr. Angel, the elderly financier, Mme. Goldentrill, the aging diva. Yet how boldly the types are cast, and how fresh the music. It was a good show, even though Director Frank Corsaro placed the action in the Edwardian era in a wasted effort to provide contrast with the Salieri. Sopranos Karan Armstrong (Goldentrill) and Ruth Welting (Miss Silverpeal) filled the theater with fine singing...
...opera buffs, the evening's most notable portrayal was Scruples (the impresario) played by Francis Robinson, 64, the perennial opera raconteur, radio personality and assistant manager of the Metropolitan Opera. Though Scruples is a nonsinging role, he does have most of the punch lines ("Opera...
Seraglio predates The Impresario by four years and is written in the style of the Singspiel (literally, song-play), the popular 18th century German comic opera. These days it needs a clever stage style-or more expert clowning-to make a convincing evening. This, alas, the opera failed to get from Director Anthony Besch, who unaccountably kept the action stiff and stately...