Word: legato
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...with burly authority. The score opened with a fast descending scale on the strings joined by the brassy blare of trumpets. Four stark downbeats on the kettle drums were omens of doom. Cracking fortissimos rapidly fading to a whispered diminuendo, an accumulation of dissonant agonized tones, a carefree pastoral legato phrase, and a lamenting melody on a reedy oboe vividly characterized the fateful day in Dallas and the President's oblivious ride to his death...
...such ailments, Krips is the perfect doctor. He is a master of cajolery and charm, and a bulging pocket of ambition. He descends from a long line of Viennese-school conductors (Gustav Mahler, Felix Weingartner and Bruno Wal ter), and in his singing, legato style, he is one of the world's most admired conductors. His ar rival in San Francisco brought the city to a pitch of enthusiasm it had not felt for years...
...Ferrari Trecate had his three-act opera written within a year. But after one quiet 1953 performance in Parma, it lay forgotten until Rome decided to produce it again. Its minor-key Italianate melodies, skillfully woven into choral passages that hint of Negro spirituals, are warm and rich in legato beauty, completely devoid of any modernisms, reminiscent of Puccini. The first-night audience in Rome greeted it with 20 curtain calls, and Roman critics pronounced it good enough for the regular repertory...
...Scala was packed for the revival and though Semiramide's faintly ridiculous drama was a 20th century disappointment the crowd went home satisfied In a breathtaking display of virtuosity Sutherland hurtled her voice through the complex and difficult runs, taking triple trills [long legato passages with casual ease embracing two long arias with fiery perfection Onstage, she was a better actress than she had been before. Her characterization of Semiramide was marred only by her old trouble in pronouncing Italian-she could not be understood. But the La Scala audience was grateful to both Rossmi and Sutherland. After...
...line that once rang with such great names as Gustav Mahler, Felix Weingartner (Krips's teacher), Franz Schalk and Bruno Walter. What those artists had in common, says the Buffalo Symphony's Krips, was a sense of continuity, a conviction that music should be "one long legato line." Krips's own legato line as he conducts Beethoven and Brahms is as admired as any in the world, and at Lewisohn it has become the artistic high point of the summer concert season...