Word: lammermoor
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Dates: during 1970-1979
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...stand-by for Giuseppe di Stefano in a Covent Garden production of La Boh�me and sang several performances. Conductor Richard Bonynge heard him and was "bowled over." Eventually, Pavarotti found himself singing with Bonynge's wife, Joan Sutherland, in a Miami production of Lucia di Lammermoor. To Sutherland's skeptical eye, this strapping unknown looked like "a big schoolboy." But to her ear? "Well, it was absolutely phenomenal ? the fabulous resonance, the shading, such range, such security." The Bonynges signed him up for a 14-week tour of Australia...
...tired!" There is a derisive titter from the audience. They have sympathy for Soprano Rita Shane, who plays Miss Havisham. She has flung her voice valiantly through trills, runs, arpeggios, and sung paragraph upon paragraph of words that dwarf the great mad scene in Lucia di Lammermoor. But the audience is tired too, because this kind of listening, when most of the words are unintelligible, is also hard work...
...Puritani contains scarcely any drama at all. What plot it has concerns two noble lovers who are temporarily made unhappy by conflicting allegiances to Cavaliers and Roundheads in 17th century England. The opera unfolds like a torpid, benign Lucia di Lammermoor: it has a hero who prefers politics to love, a heroine who goes mad. By the time all turns out for the best, it is hard to remember what went wrong: three scenes contain no action of any kind...
...Opera House in Mulhouse, Alsace, she debuted in Lakmé, a role in which she later daringly appeared, navel exposed, in costume sans midriff. One of her most famous performances was at the Metropolitan Opera in 1931: she sang the difficult "Mad Scene" in Lucia di Lammermoor in the key of F, an entire tone higher than the original score. Married to Conductor André Kostelanetz from 1938 until their divorce in 1958, Pons moved to Dallas in 1961 and remained active in local opera...
...sweet laments in Douglas Moore's The Ballad of Baby Doe. She achieved her major reputation with a blinding display of Baroque wizardry 8% years ago in Handel's Julius Caesar. Subsequent years brought triumphs in Massenet's Manon; Donizetti's Lucia di Lammermoor and trilogy of queens, Roberto Devereux, Maria Stuarda, Anna Bolena; and more recently, Bellini's / Puritani. Vocal fireworks are Sills' glory. She has a light, lyric coloratura so clear and swift that it seems phosphorescent. Though she is the best Manon around, her trademark has become the revival of obscure...