Word: lovingly
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Dates: during 1980-1989
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Susanna, in cahoots with the Countess (Martha Warren) launches a plot against the Count (David Kravitz) who wants Susanna and doesn't return the Countess' love as he should. Basically, Susanna wants Figaro, the Count wants Susanna and the Countess wants the Count. Throw in a case of a lovesick teenager (Cherubino), recruited to aid in the scheme by the women, and a subplot where the orphaned Figaro learns the identities of his real parents, and you get some really dangerous liaisons...
Warren, as the lovestruck Countess, lyrically opens the second act with her sorrowful "Porgi, amor, qualche ristoro al mio duolo, a mieis sospiri" aria ("Grant, love, that relief to my sorrow, to my sighing"). Aided by a dramatic blood-red backdrop, she expresses her grief over her unrequieted love for the Count. Although wooden at first, Warren's Countess warmed up as the action heated up. She does, however, keep a cool distance from the audience as well as from the Count, who is well-played by Kravitz...
...century?), it is Mozart in the end who gives us the most aural pleasure. Who can resist the remarkable closing scene of The Marriage of Figaro, in which Figaro and Susanna, the Count and Countess Almaviva, Marcellina and Bartolo and all other cast members join together in praise of love and happiness? It's a scene not to be missed, confirming Mozart's brilliance in choral writing and the Lowell House Opera's commendability in bringing...
Unfortunately, there is no English counterpart to "guy," save "gal." "Gal" sucks. Conjuring up the image of a Nebraska cow-milker in overalls doesn't go very far in the Northeastern liberal boutique we know and love...
Robeson's rhetoric intensified after World War II ("It's up to the rest of America when I shall love it . . . in the way that I deeply and intensely love the Soviet Union"), and in 1950 the State Department revoked his passport. He made new enemies when he accepted the Stalin Peace Prize in 1952. White enthusiasts dropped away, joining a series of black spokesmen who had given him their backs. The head of the N.A.A.C.P. pronounced him "more to be pitied than damned...