Word: lammermoors
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...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...
...musical and theatrical skills. But it helps that what she has, she flaunts-tirelessly. This season is typical. Sills will give recitals in such cities as Syracuse, Boulder, and Birmingham, Ala. She will also appear as soloist with orchestras in Miami Beach, Houston, and Evansville, Ind., sing Lucia di Lammermoor with opera companies in Milwaukee and Omaha, star at the San Francisco Opera and visit Los Angeles with her home company, the New York City Opera...
...dressing this LP in the sales-proven "greatest hits" garb. For in this 40-minute collection of piano transcriptions by the granddaddy of all transcribers, Bolet has come up with what will surely be one of the piano records of the year. Liszt's Reminiscences of Lucia di Lammermoor or Concert Paraphrase on Rigoletto requires a fusion of talents comparable to those of an expert novelist who is also a master of the sonnet. Bolet's combination of intricate line and bold sweep is just such a fusion...
Musically, Maria Stuarda is, alas, a considerable bore-much less inspired, say, than the same composer's Lucia di Lammermoor or Don Pasquale. The only reason to pluck it from obscurity now is to afford a singing actress like Sills the dual opportunity to make life look difficult and bel canto fioritura easy. That Sills can accomplish better than anyone in opera today...