Word: luisa
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Dates: during 1970-1979
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...paced himself well. Says Eugene Kohn, a former accompanist and coach of Pavarotti's: "There was fear that he would lose the bloom of sound and the top notes. But if the repertoire stays too light, you don't give the voice free rein. I recently heard him in Luisa Miller in London, and ins voice was fantastically enriched for having sung heavier parts." Pavarotti is preparing the formidable role of Radames in Aida for San Francisco in 1981. Lohengrin may even be down the road some day. "I continue to take risks," he says. "I could spend the rest...
Every day, four or five bulging mailbags arrive on the 23rd floor of the Time-Life Building in Rockefeller Center. The letters are immediately pored over by Letters Chief Maria Luisa Cisneros and her staff. The most newsworthy are sent to Reporter-Researcher Nancy Chase, who picks those that will be published. A digest of the week's letters is also distributed to TIME'S editors and news bureaus. All letters are acknowledged, and those that question the tone, emphasis or factual content of a story are answered by Cisneros, her deputy, Isabel Kouri...
...plays El Gallo. Roy is a veteran of many Harvard theatricals, and his performance is not a casualty of incompetence, but miscasting. El Gallo is the most difficult role in the show. He must sing the beautiful opening ballad "Try to Remember," introduce the characters, narrate the action, abduct Luisa and allow himself to be beaten by Matt, and philosophize on the Meaning of It All. Roy is a good actor, but he is all wrong for the part, El Gallo is supposed to be dark, handsome, suave, sophisticated and on-key; Roy has a paunch his cummerbund...
...only piano, harp and bass at his disposal, musical director and piantist Dan Ullman achieves a surprising spectrum of moods with the score. Except for the touching ballad "Try to Remember," the songs are musically undistinguished. Still, the musical numbers are the strong points of the show. Matt and Luisa's closing duet, staged with admirable restraint, nearly redeems the dialogue that precedes it--and it would completely if Schmidt and Jones didn't feel obligated to insert El Gallo at the end with another substanceless speech...
...arguing with your parents can only lead to hurt, that the world is an ugly place, that it isn't worth exploring other places and ideas because the boy and girl next door are the best there is. The main action of the first act--the attempted rape of Luisa that Huckelbee and Bellomy stage so that Matt can defeat her abductors in a moment of glory--isn't funny anymore. Rape is frighteningly real these days, and when El Gallo and the two fathers sing "It Depends on What You Pay," haggling over how elaborate an abduction El Gallo...