Word: lyrically
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
Marines Pass in Review (Sat. 5 p.m., ABC). Written, acted and produced by Marines and played to a cheering, whistling Leatherneck audience, the first transcribed show leaned heavily on a Camp Pendleton band that was as handy with a love lyric as a marching song. Sandwiched among the musical numbers were several Marine Corps skits, balanced neatly between toughness and sentimentality. Possibly the biggest surprise for Marine veterans was a middle "commercial" selling the hearty, frolicsome outdoor life of boot training...
...golden basso cantante (a lyric bass rather than a growler) with a natural authority onstage, Siepi won himself an opening-night ovation as the dignified king in Don Carlo. Then, a month later, he shed the dignity like a shirt, became an inspired and pompous fool as Don Basilio in The Barber of Seville. He turned next to Mephistopheles in Faust, sang and acted with his customary conviction...
...Berg: Lyric Suite (the Juilliard String Quartet; Columbia, 2 sides LP). Austrian Atonalist Alban Berg, who died in 1935; is rapidly coming into his own. His opera Wozzeck is enjoying a spate of concert performances (Columbia and Artist Records have recorded excerpts), and it will be a featured work at this year's Salzburg Festival. The Lyric Suite, composed six years later (1926), comes far more strangely to the ear, is not recommended for those not already pleased to make Berg's acquaintance. Performance and recording: excellent...
...rather dead, determined performance of Bach's "Herr Gott, Dich Loben Wir" smothered the exuberance of the "sacred joy." Much more satisfying were the two choruses from Handel's "Solomon." Delicacy and perfect balance characterized the lyric invocation "Music Spread Thy Voice Around." The second, more dramatic chorus, performed with skill and sensitivity, enabled an easy transition to the tragic mood of the two following works...
Paul Tibbetts' strong bass voice appeared to excellent advantage in the role of Creon. While Oscar Henry's lyric tenor lacked the force required by the dramatic role of Oedipus, it was none the less appealing. Miss Alberts made Jocasta's fascinating aria one of the evening's high points. The "Oedipus" was marred only by a badly written narration which broke up the tenseness of the work...