Word: mia
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...cast-Kurt Baum as Radames, Irene Dalis as Amneris. Leonard Warren as Amonasro-which might well have overpowered her. Tentative at first, Singer Davy warmed up as the evening progressed, sang her low tones with a throaty richness, her upper ones with limpid, free-flowing clarity. Her O patria mia was a triumph of yearning beauty. She lacked the sheer vocal force to carry over Baum's bellowing and Warren's thunderous tones, but she matched the acting of the veteran cast with a touchingly natural performance. All in all, Soprano Davy proved that the Met is where...
...televiewers and listeners in the spring of 1949. When RCA Victor decided to cut records from the broadcast tapes, Toscanini returned from retirement in 1954 to conduct at Carnegie Hall portions of the opera which did not satisfy him-namely, Soprano Herva Nelli's O Patria Mia and Ritorna Vincitor! (TIME, June 14, 1954). Last week Victor released (on three LPs) Toscanini's composite and deftly sound-doctored Aïda, the opera in which he made his conducting debut in Rio de Janeiro 71 years...
...Italy, what Martine Carol is to France, shapely, blue-eyed Diana Dors, 24, is to Great Britain. Diana is a platinum blonde whose indefinable chemistry and heady allure have been greeted with international enthusiasm. The blasé French have called her "ravis-sante." The Italians have sighed "Mama mia!" Even the British, ever fond of understatement, have referred to her as "Britain's best visible export." Not one to belittle herself, Diana, once carried away by the symmetry of her own 35-23-35 figure, cried: "What merchandise! And boy, how it sells...
...Mia, with a vocal by Johnny Amoroso. The soupy melody is currently the No. 2 hit in Britain. Said Ackerman: "A lot of squares will think this is an immortal work." But apparently not enough: turned down...
...from the Nile Scene. Toscanini demanded that she sing a long, difficult phrase in one breath. "I know," he had said earlier, "there is not a soprano today who does it. But you do it." He also insisted on his own interpretation of anguish in the phrase O patria mia, o patria mia. He sang it through himself, beating his chest. Nelli tried it. No, no, said the maestro, and launched into the phrase again, leaning toward her, hugging his own shoulders, swaying in sorrow. When finally the recording began, Nelli's voice rang through the hall with...