Word: mozarts
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...honor of the Metropolitan Opera company, whose visits have been the peak of the city's social season since 1910. The club explained that its ballroom was being refurbished, but Atlantans figured the real reason was that Leontyne Price, a black soprano, was to sing Donna Anna in Mozart's Don Giovanni. Met Director Rudolph Bing let it be known that if Price was not invited to the Piedmont dinner, no member of the company would attend...
...Rossini's The Barber of Seville. Then she headed for Italy, where next week she will sing the same role at La Scala. When not in the opera house, she is in the recording studios. Two new albums, French Opera Arias (Columbia) and Frederica von Stade Sings Mozart-Rossini Opera Arias (Philips), display what the fuss is about -a lustrous amber mezzo-soprano voice with an unusually high, sweet crystalline top and seemingly effortless agility...
...Rudolf Bing who plucked her out of the Met opera studio when she was 24 and gave her a contract. Three years later she surprised everybody by taking a season off to broaden her experience in Europe. There, in the spring of 1973, she scored a smashing success as Mozart's Cherubino in a new production of The Marriage of Figaro at the Paris Opera, with Sir Georg Solti conducting. Suddenly, she found herself an international star, and made a triumphant return to the Met-as Rosina in The Barber...
...opera house, but because it is not large she shies away from the heavy Verdi and Puccini, not to mention Wagner. She may be ready for some of that music in five to ten years, although she herself doubts it. For now it is enough that she sings Mozart (Cherubino in Figaro, Dorabella in Cost fan Tutte) with exquisite taste, control and sheen. Or that she can blend the impetuous and the spiritual so deftly as Nina in Thomas Pasatieri's The Seagull, or the childlike and the vulnerable so magically as the heroine of Debussy's Pelleas...
...career. Playing with Cellist Mstislav Rostropovich and his friend Tenor Peter Pears, with whom he shared a semi-manorial brick house in Aldeburgh, Britten was a deft, expressive accompanist at the piano. He was an exceptional conductor, not only of his own works but also of Bach, Purcell and Mozart. His graceful, impassioned version of Mozart's Symphony No. 40 in G minor, for example, is the best on records...