Word: lyricizing
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That early training, Tucker feels, helped him to catch on at the Met, mastering 25 major roles as he developed from a lyric tenor to a lirico spinto (midway between lyric and dramatic). He is not identified with any single role, but ranging between the romantic bel canto flights of Lucia di Lammermoor and the more declamatory style of Turandot or La Fanciulla del West, he has created some memorable characterizations: Don Jose in Carmen, Rodolfo in La Boheme, the Duke of Mantua in Rigoletto...
NICOLAI GEDDA, 36, is as much admired for his dramatic ability as he is for his crisply controlled lyric tenor. Although he was born in Sweden, his clear enunciation of English has delighted Metropolitan audiences unaccustomed to understanding a word from the stage. It was partly...
Western jazz has long been a steady favorite. The Charleston is back in vogue, suggesting that reactionary elements are freely at work in the pop music field. Prague's favorite tune last week was Come on Grandma, Teach Me the Charleston. Sample lyric: Grandma, leave the pullover alone. There is still plenty of time till Christmas. I'll knit half a yard for you tomorrow, If you come and teach me the Charleston...
...last three decades, Robert Frost has abandoned the subject matter that made him famous - woods softly filling with snow, the birches and stone walls of New Eng land, the brook in the back pasture, the tang in autumn air at apple-picking time - and he no longer attempts the lyric intensity of his earlier works. Increasingly, he is content with sententious verse written with the negligent, remembered skill of a master craftsman. The old man is fascinated by the adventuring spirit of man. Many of his poems are half wisdom and half whimsy, and Frost often seems to be sharing...
...Alcestiad is Wilder's retelling of the Greek legend of Alcestis, whose devotion to her husband caused her to offer her life for his. Talma's score, which frequently employed the twelve-tone row, was aglow with curving lyric lines but avoided any hint of romantic lushness, was sometimes reminiscent of Stravinsky. The lightly modern music at no point obscured the text, at many points sharply illuminated it, as in a moving second-act farewell duet of Alcestis (well sung by Soprano Inge Borkh) and Admetus...