Word: ops
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...major works on the program, jointly performed by the two choruses, were di Lasso's Penitential Psalm, 'De Profundis,' Beethoven's 'Elegischer Gesang,' Op. 118, and Schubert's Mass in G Major. The worst-performed, Schubert's Mass, written at 18, suffered from an execrable accompaniment by a small string ensemble. In their solo passages, the strings sounded uniformly out of tune, weak, uncertain, and uncoordinated Beneath the chorus, they could only muddle the texture a little, but almost did derange the pitch and rhythm of the three excellent soloists. Sure and accurate, Tenor David Griffith, Soprano Emily Romney...
...same al bum, which also includes sketches for the Salon of 1804. There he came upon the Frick's David under "Painting No. 114." But the legend in the catalogue read: "Mme. Davin-Mirvault, portrait of Signor Bruni, composer, former conductor of the orchestra at the Opéra-Buffa...
...Handel's 'Concerto Grosso in A Minor,' Op. 6, No. 4, Senturia extracted something rare in student orchestras: a solid string sound. Solos by Lawrence Franko, concertmaster, with the harpsichord, came out clean, vigorous, and straight-forward...
...concluding Sonata No. II in E flat major (Op. 120, No. II) by Brahms got the finest performance of the evening, and nearly deserved it. Though Doktor occasionally had problems with undesirable harmonics, in the lower register he coaxed forth the best rich tone of the viola. Under his consistently thoughtful phrasing, the music breathed; it ranged vigorously over a continuum of delicacy and strength. Beneath it all, the piano dully bungled along: too much pedal again, sloppy arpeggios, no subtlety in dynamics. But Brahms surmounted Miss Menuhin's limitations...
French opera fans are wary of opera sung in foreign tongues: German, in particular, they think, is a language that sits uneasily in the throat. Nevertheless, when Soprano Elisabeth Schwarzkopf, 46, was lured to Paris to make a double debut-as the Marschallin in Der Rosenkavalier at the Paris Opéra, and as the Countess in Capriccio at the Opéra Comique-both productions were cast in the original German. In Soprano Schwarzkopf's case, the language might also have served as a reminder of her early career as a leader of a Nazi studentbund...