Word: lyrical
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Dates: during 1960-1969
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With Power to Spare. "Leontyne leads with that voice," says her accompanist. David Garvey. "It is her Rock of Gibraltar." Leontyne's Gibraltar is known technically as a lyric spinto-a high soprano voice with dramatic feeling. No singer today is better capable of straddling both the lyric and the dramatic moods than she is, and none possesses a voice that is more secure throughout its considerable range-the G below middle C to the D above high C. Says she: "I never try an F in public. I sometimes do it in the shower, but there...
...that Leontyne had a pair for school as well as "patent leathers for Sunday." Says Leontyne: "Mamma never wanted us to go barefoot like the other kids; she wanted us to amount to something." Leontyne's first memory of music is hearing her mother sing in "a lovely lyric soprano voice" as she hung out the clothes in the long, level Price backyard. Leon tyne had a doll piano when she was three, and. recalls Kate. "That child run me crazy giving me concerts." At 3½ Leon tyne took her first lessons from Mrs. Hattie Mclnnis. the town...
With notes as big as thunderheads starting and falling low at the end of the lyric, South Africa's King Kong was introduced last week to the London musical stage. Drawn from life in the shantytowns around Johannesburg, it gave its West End audiences a chance to see the result of a big event in theatrical history: a superb jazz opera written, directed and produced by South African whites, scored, sung and acted by South African blacks...
...slipped knee cartilage, carried off the part with a brilliant blend of boisterousness and truculence. Since then, he has been a wild Teddy Boy in The Lily White Boys, a suitably complex Oedipus in a BBC production of Jean Cocteau's The Infernal Machine, and a robust and lyric Romeo in a Caedmon recording of Romeo and Juliet (with Claire Bloom), scheduled for U.S. release soon. But throughout Britain he is best known as Arthur Seaton, hero of the film version of Novelist Alan Sillitoe's Saturday Night and Sunday Morning, an elaborately praised production that will give...
Dwarfs & Princelings. In Madrid his colors gradually brightened, but the lyric realism remained. While Rubens, who spent nine months at the Spanish court, tried to puff up his noble and royal subjects by surrounding them with allegorical figures, Velásquez painted them exactly as they were. His figures stand out against subdued or neutral backgrounds, but whether dwarf or princeling or court jester, they are full-fledged individuals, painted without adornment and without malice...