Word: lyricized
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Dates: during 1950-1959
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...Covent Garden, Manhattan's Metropolitan. Caruso, with whom she made a stunning U.S. debut as Tosca in 1916, once said that Claudia "knew all of our stage tricks before she wore long skirts." She had a voice to match her acting: she could, and did, sing coloratura, lyric and dramatic soprano parts with equal ease. In Buenos Aires one time, when Giovanni Martinelli momentarily lost his voice in the third act of Catalani's Loreley,* she carried off his tenor part as well...
...living U.S. poets, none has lodged poems more surely where they will be hard to get rid of. At its best, Frost's crabapple-tart verse distills into the pure liquor of lyric poetry. Stopping by Woods is one of the loveliest poems ever written. Every U.S. schoolboy knows Birches. His lines carry the tone and temper of New England's dour and canny folk, often have the tren chancy and inevitability of folk sayings. Frost has made "good fences make good neighbors"* part of the language. Chores are "doing things over and over that just...
...poets who helped form the idiom spoke with classical tongues. He read Theocritus and Vergil, Horace and Catullus. (In any possible hereafter, says Frost, he would like most to dine with Theocritus). Keats and Shelley were uncongenially flowery. He learned the dramatic lyric from Browning, decided that what he wanted was "the speaking tone of voice somehow entangled in the words." He set himself such exercises...
Last week it looked as if best-selling Gordon Jenkins' formula would keep right on pleasing the U.S. public. In its "Record Possibilities" chart, popularity-wise Billboard picked Jenkins' latest release, Tzena, Tzena, Tzena, a fast-paced Hebrew folk song with a Jenkins lyric, as the week's new record most likely to succeed in weeks to come...
What listeners heard from Conductor Izler Solomon and the CBS Symphony was honest and surprisingly modest music. As Composer Bergsma himself noted, it was "quite reasonably diatonic," i.e., based on traditional harmony. It also had a quiet, respectful, lyric feeling, expressed in almost Brahmsian lengths of line. It was purposeful and direct. If Symphony No. i fell short of any of its composer's professed aims, it was in its lack of variety, either harmonic or rhythmic. Even so, grinning Composer Bergsma, sitting in the audience with his young wife "Nickie " got a nice, appreciative hand of applause...