Word: lyricizing
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...joint Joan Sutherland-Marilyn Home recital next month will begin the Emmy award- winning Live from Lincoln Center series of six vocal, instrumental and dance programs. Coverage of perhaps another dozen special events is in the offing, including the San Francisco Ballet, the Vienna Philharmonic and the Chicago Lyric Opera...
Vocally, Pavarotti in recent years has skillfully negotiated the most treacherous shoals that face a tenor. Early in his career he was a classic tenore lirico, ideally suited to lighter lyric roles like Rodolfo, and florid bel canto roles like Nemorino in L'Elisir d'Amore. With age, however, a tenor's voice takes on a heavier tone and darker coloration. By the time he is in his 40s, a tenore lirico is usually ready for roles in the intermediate spin to (pushed) range, like Cavaradossi in Tosca, and maybe even in the forceful, baritonal tenore drammatico category, like...
...front of an early view of Yosemite Valley.) The show enables one to see Adams' early and late prints from the same negative, and the difference is interesting. The early ones are of ravishing delicacy; they have a subtlety of discrimination, a continuity of surface tone that are essentially lyric. But by middle age, Adams' work began to shift. In the darkroom, he was conducting from the negative's score?pushing the image to its tonal limit, infusing it with a Wagnerian moodiness. The late prints are public declamations, cast in an epic mode. To Adams, change is simply...
...much easier than what I've always done. You don't have to remember anything, to begin with. If you play Vegas you've got about an hour by yourself. You have to remember every cue, every song, every lyric. If it's no good, you can't do it again. That can't happen to a movie actor. The director says, 'Come in,' and you walk in. If you stay out in the hall, you're a bad actor. If you walk in, you're a good actor...
...subscription drive has become another of the fine arts, and there are few if any practitioners more polished than the Chicago Lyric Opera's pressagent, Danny Newman. "There's no arts boom in America today," says Newman, 60. "There's only a subscription boom." Newman should know. He has made the "fickle" single-ticket buyer expendable in many American cities. As a consultant to the Ford Foundation since 1961, he has criss-crossed the country teaching theater companies how to set up subscription drives. His formula: subscribe now. Those two words are blazoned on the brochures announcing...