Word: pinza
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...Liebestod." When she took on her stadium chores, she gave up the piano, and apparently has not looked seriously at music since. Her musical miscues are leg endary. Reading from notes during one of her stadium intermission talks, she an nounced that the coming attraction would be "Ezio Pinza Bass," and then added over the roars of laughter: "Oh no, that can't be right; that's the name of a fish." She has been known to refer to H.M.S. Pina fore as "everybody's favorite by Gilbert and Solomon," or to announce that "Rodger Hammerstein personally...
Whirling through his career with airy speed, Sanders tells how he might have become a matinee idol if he had not been too bored to keep a crucial lunch date with Louis B. Mayer, how he was signed to replace Ezio Pinza in South Pacific but could not face the tedium of nightly performances on Broadway. "During the five years I was married to Zsa Zsa Gabor," he confides, "I lived in her sumptuous Bel Air mansion as a sort of paying guest." Communicating with Zsa Zsa was never easy, since she seemed to do almost everything under a hair...
Basso Siepi found his customarily resonant, mellow notes, plus a larger kind of rollicking, swaggering presence that had about it much of the animal authority Ezio Pinza used to exude in the role. What it lacked was only a tincture of malevolence: Siepi's acting was sometimes reminiscent of the reflex actions of a sleek cat rather than of a man willing to defy Heaven to enjoy earth. Soprano Steber presented a rich, blazing, gusty-voiced Donna Anna and Soprano Delia Casa an elegantly anguished Donna Elvira. And as Leporello, Basso Fernando Corena not only lurched and grimaced about...
Even before Pinza got out of the army at 27, he won a chance to sing the Count des Grieux in Manon in Rome. After that, his career picked up a dizzying momentum. Toscanini invited him to sing at La Scala, where he scored such a hit in Boito's Nerone that in 1926 Metropolitan Opera Manager Giulio Gatti-Casazza signed...
...enough flexibility to invade roles often sung by baritones without losing the power that enabled him to reach the back row without straining. And with his big voice he had the elusive personal magnetism and the dignity that grand opera demands. For a whole generation of operagoers, Pinza's Don Giovanni-in richly decorated doublet and single gold earring-was the virile embodiment of everything the role implied. Although Pinza could barely read music, he had a prodigious musical memory and a bone-deep sense of musical taste. He labored over makeup and stage business-he once spent hours...