Word: lyrical
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Dates: during 1970-1979
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...CONCERTO FOR CELLO (Lynn Harrell, cellist; London Symphony Orchestra; James Levine, conductor; RCA; $6.98). Its jubilant fire, four-seasons color and unstrained lyric impulse make this the finest cello concerto ever written. The fast-emerging Harrell recalls the heroic eloquence of the late Emanuel Feuermann, and the peripatetic Levine, soon to become music director of the Metropolitan Opera, offers a brilliant reminder that Dvořák wrote the work for orchestra as well as cello...
...this show some place, but the performers are something to be jubilant about. The stars are the kind you see in the skies−Patrice Munsel, Cyril Ritchard, Tammy Grimes, Larry Kurt, John Raitt, Dick Shawn and Lillian Gish. The three ladies stand out: Munsel with her silver-tongued lyric soprano; Grimes, who is a mischievous imp of the stage; and the in destructible Gish, who at 80 is still a darling little girl and a valiant trouper...
Tennessee Williams stands in an apostolic succession from Aeschylus in that slender company of men who, by vocation, are destined to write high drama. Within his own life span, Williams' characters, scenes and lines have become part of the civilized world's fabric. But Williams is a lyric playwright. and these prose memoirs, no matter how candid, cannot quite resolve the mystery of his artistic gifts Since he writes as naturally as birds fly (one of his nicknames is "Bird"), the book is immensely readable as well as valuable. It radiates good humor, randiness, poignancy and a gallant...
...players key members of the drama. He cannot draw from Sopranos Evelyn Mandac (Almirena) and Noelle Rogers (Armida) the Baroque bravura he gets from Home, but Mandac is an especially lovely singer with a bright future. In Samuel Ramey (Argante), Foster has a bass baritone of extraordinary dramatic and lyric gifts, and it is easy to see why Ramey is fast filling the shoes and cape of the late Norman Treigle in Houston, at the New York City Opera and else where around the U.S. William Bender
...giving himself to an audience neither young, punkish, nor unfamiliar with his music, but which also had a blind faith in the reggae singer. From his first number, Fundamental Reggae, the house was alive and poised on the brink of each high-throated, smooth verse, silent in the lyric wave of his high-pitched voice, screaming in the abatement of its flow...