Word: munsells
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...Manhattan's Metropolitan Opera House one afternoon last week, sparkling young Soprano Patrice Munsel warbled those waltz-time lines as if they had been written for her. When the curtain closed on the act, operagoers gave her an ovation. Backstage in her dressing room, Patrice Munsel grinned happily. Said she: "I love an audience...
...slim but full-figured, Patrice Munsel is typical of a new kind of grand-opera star-as un-European, as American, as Ethel Merman or Mary Martin.* In European opera, with its polished Viennese, its lyric but undisciplined Italians, its meticulous Germans, there is nothing quite like...
...opera. As Conductor Tibor Kozma says: "Operagoers no longer will stand for three-ton tanks in the roles of innocent 15-year-old girls, or singers who stand in front of the prompter's box and do their daily dozen. They want acting. They want dramatic realism. Munsel and some others are representatives of a young generation of singers who are really singing actors." Patrice's manager, Sol Hurok, says with box-office candor: "You can listen with your eyes open...
...Metropolitan Opera debut in La Boheme, Soprano Patrice Munsel found that the tabloids had headlined her in a real-life Fledermaus mixup. Ingenue leads: herself, and a coal-mine heiress named Sally Mundy. Male leads: Gregg Juarez, a sometime television actor, and Robert Schuler, a candy heir who shared the same apartment under an agreement that whoever married first would have his bride move in. Plot: Juarez falls in love with Munsel, Schuler with Mundy. Everyone decides this is a mistake, so they switch affections and engagements. Climax: denials on the part of everyone but Juarez. The whole story, they...
...second act was musically, dramatically, and visually the best. Virginia MacWatters, singing the role made famous by Patrice Munsel, stopped the show with her provocative rendition of Adele's "Look Me Over Once" aria. The action in the second act picks up considerably as the comedy of cross-purposes begins to resolve itself. (Example: Eisenstein's attempt to seduce a masked lady at the ball, not knowing she is his wife." The dance sequence, although it added nothing to the story, was indeed spectacular, and the audience loved it --which is all that matters in a production of this kind...