Word: marias
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Dates: during 1960-1969
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LUCIA Dl LAMMERMOOR (Seraphim: 2 LPs). Recognition first came to Maria Callas for her voice, and her voice alone. This reissue of a recording made at the 1953 Florence Festival documents the origin of her reputation as one of the finest dramatic sopranos in opera history. Her voice then had an almost unbelievable poignancy and precision, reinforced by an intelligence that makes most other singers' version of the mad scene seem like inane twittering. Tenor Giuseppi Di Stefano, Baritone Tito Gobbi and Conductor Tullio Serafin provide rousingly good support...
...thought it would be fun to have Christmas trees decorated to the specifications of various celebrities. Television's Smothers Brothers' tree is a roost for 50 peace doves. Socialite-Artist Gloria Vanderbilt Cooper's tree is a collage of gingham swatches and lacy Christmas cards. Baroness Maria von Trapp directed her tree be festooned with homemade cookies-even sent the recipes along. But no one could hold a Christmas candle to Songstress Pearl Bailey who, when asked what she wanted on her tree, replied "Just gobs and gobs of pearls, honey." And gobs is what...
...musical about living, loving, suffering and dying. John Kander and Fred Ebb wrote the immensely theatrical score; Joseph Stein did the book; and producer-director Harold Prince tied it all together with a finesse the likes of which have not been seen since Jerome Robbins' heyday. Herschel Bernardi and Maria Karnilova are the leads, with a strong assist from gutsy-voiced Lorraine Serabian, who heads a Greek chorus. At the IMPERIAL, W. 45th...
This has to be the only case on record of a title having a book. Under your very eyes, Brautigan meets his title, chats with it, performs an autopsy on it, gives it a splendid dinner with Maria Callas, and even composes a ballet for it. I, for one, cannot explain this strange state of affairs. Who can explain it? Can Bertrand Russell...
ZORBA. Producer-Director Hal Prince has turned out a non-Jewish version of Fiddler on the Roof. But this time Herschel Bernardi merely inhabits the hero's role rather than being possessed by it, and Maria Karnilova never quite provides the mixture of girlish coquetry and faded carnality that the role of Bouboulina requires. The music sounds as if it is being piped in by Muzak; the lyrics are insipid, the dances are any old folk...