Word: lyricizing
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...Shakespeare's familiar plot in 13 scenes before a series of sumptuous but often ponderously literal sets. The heavily orchestrated score, boldly conducted without score by Conductor Yuri Faier (he is almost blind, can see only the dancers' silhouettes), is unabashedly romantic, gently moving in its lyric flights, occasionally distracting when the onstage movements are too welded to its melodramatic moods. The acting style is sometimes reminiscent of Theda Bara and the silent films: the wildly staring eyes and clawing hands of grief, the shaking fists upraised in righteous anger. At one point, Romeo stands with roses...
...times the lyrics tumbled out like rolling dice; at times they floated with a coolly languid back beat. Sometimes the trio sang three different lyric lines simultaneously...
...opera performances. In his long career, 59-year-old Promoter Fabiani has also treated Philadelphians to professional tennis tournaments, midget auto racing, ice revues, plus such middlebrow musical fare as Mantovani's lush strings. With profits from these enterprises, he has given Philadelphia a new opera company, the Lyric, lured big-name singers with fat fees ($6.500 per recital for Tebaldi...
Since Fabiani turned back to music two years ago with the formation of the Lyric, he has been doing all his own casting, drawing mostly on the NBC Opera and the New York City Opera companies, borrowing scenery from Manhattan's City Center. With citywide billboard displays, he challenges Philadelphia's entrenched Grand Opera Co. So far. the Lyric has been no more daring in repertory, will present ten works next season, three of which will be contemporary: Stravinsky's Oedipus Rex, Carl Orff's Carmina Burana (both to be conducted by Leopold Stokowski), and Carlisle...
...parts, however, seemed not such a bad idea, since Saramae Endich and Florence Kopleff turned out to be not in the same league as Adele Addison and Martha Lipton, who often appear with the B.S.O. The other soloists, however, performed excellently. As the Evangelist, Hughes Cuenod stood out, his lyric tenor voice reaching every corner of Symphony Hall, although he began to tire in part two. Mack Harrell sang Jesus with great expressiveness; the most tender moment of the whole afternoon as it should have been, was his "Eli, Eli, lama sabachthani...