Word: mets
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Dates: during 1950-1959
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While the rioting was going on. Wolfgang Larrazabal, 46, chief of the Venezuelan navy, and eight other armed-forces officers met secretly at a Caracas military academy at 6 p.m., drew up an ultimatum giving the dictator until 10 p.m. to step down. To make the navy's position unmistakably clear, Rear Admiral Larrazabal (pronounced Lah-rah-sah-bahl) ordered nine destroyers to stand off Caracas' port of La Guaira with their guns trained on the shore. Army commanders, sickened by the sight of Venezuelan killing Venezuelan, joined the admiral's bid to end the fighting. Desperately...
FLAVIANO LABO, 31, an Italian-born tenor whose clear, powerful singing more than makes up for his lack of height (under 5 ft. 5 in.). He made his successful Met debut as Alvaro in Forza del Destino, and his Edgardo in last week's Lucia di Lammermoor had the house cheering. His secure, robust voice approaches the stentorian singing of Mario Del Monaco, although darker and not so piercing...
NICOLAI GEDDA, 31. born in Stockholm of Russian-Swedish parents (his father was a baritone in the Don Cossack Chorus), did well in his Met debut as Faust, outdid himself as Ottavio in Don Giovanni, Anatol in Vanessa. Tall for a tenor-his pressagent, measuring with a basketball coach's rubber ruler, claims 6 ft. 3 in. -Gedda offers a clear, sweet voice that may lack warmth ("Champagne rather than Chianti," says one critic), but has strength and purity. His acting is intelligent, his pronunciation unusually correct for the opera stage; he is a linguist, speaks seven languages...
...Italian tenor who paces the stage as he winds up for a big aria, is well worth hearing when he finally stands still and left loose. His voice is warm, strong and sure. Good tenors are never in plentiful supply; with Fellow Newcomers Labo and Gedda, Bergonzi makes the Met unusually rich in the tenor department...
...been properly praised for his fine, resonant voice and roasted for wooden acting. As Lord Hepry Ashton in Lucia di Lammermoor this season, he sang well, was no more notable for oaken attitudes than many other performers in an art form that pays little heed to Stanislavsky. While the Met, with Robert Merrill and Warren, has enough starring baritones, Sereni will be useful in such important feature roles as Marcello (Bohème) and Silvio (Pagliacci...