Word: lusciousness
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...veteran conductor Leonard de Paur, who first gained fame in the 1940s as leader of the De Paur Infantry Chorus. The women-Dramatic Soprano Juanita Waller (Aurore) of Pittsburgh, Pa., and Mezzo Barbara Conrad (Clothilde) of Pittsburg, Texas-provided most of the vocal excitement. Waller has a pearl-luscious voice, and her time along the European operatic trail (Bremen, Düsseldorf, Naples) has obviously been well spent. Conrad, that rare operatic find, a truly sexy mezzo, scored her biggest success to date last spring singing Carmen at the Houston Spring Opera Festival...
...going gets tough long about December. Both Quad and Yard residents will be dulled observing the transformation from luscious green to somber gray. It's about this time when many of you will start wondering, "Why didn't I go to Stanford?" But the joys of your first reading period alleviate any doubts in your mind: you should have gone to Stanford...
...instant success, but to Max Bruch's sorrow his second violin concerto won only initial acclaim that soon faded. While the world applauded the G Minor, the neglected D Minor remained Bruch's favorite. Now Yehudi Menuhin has recorded the pair in a performance of such luscious tone and melodic charm that even Bruch's duckling is at last a swan...
...Diana Rigg. American TV audiences know a certain Diana Rigg as Mrs. Emma Peel, that so-cool, so-luscious British counterspy with wicked brown eyes and auburn hair who effortlessly karate-chopped and kneed her way through 34 episodes of The Avengers. If this is the same Rigg, what's a pop actress like that doing in a nice place like Shakespeare? "I'm both a commercial and classical actress," Diana says flatly. "They want to box me up, frame me and put a title under me, but I defy that. Besides, it doesn't matter what...
...musical taste. "Compromise" theories on the performance of early music, thinly disguising a rampant romanticism, are no longer acceptable. Increasingly, aesthetic balance in musical performance--appropriate instruments and style of execution for each period and composer and respect for the intrinsic value of the music, rather than the luscious effects which may be superimposed thereupon--is the rule rather than the exception. For Baroque works in particular, such balanced performance requires the skillful proportionment of elements which, to the twentieth-century musical mind, often seem to conflict; the freedom of style of improvisatory ornamentation, frequent tempo rubato, and variety...