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Christoph Willibald Gluck (1714-1787) was represented by his “Di questa cetra” from Il Parnasi confuso which exhibited Bartoli’s sublime command of mellifluous and seamless tonal transitions and passages that hovered and drifted weightlessly through her listeners, lingering hauntingly in the air. The latter half of the concert was comprised of eleven pieces by Antonio Salieri (1750-1825) drawn from La fiera di Venezia, Armida, La secchia rapita, La finta scema, La scuola de’ gelosi, Palmira, Regina di Persia, and La cifra...

Author: By Sarah R. Lehrer-graiwer, CRIMSON STAFF WRITER | Title: Concert Review | 3/5/2004 | See Source »

This endless night! (Questa notte senza fine!) I am exhausted. I can't bear it. O God in heaven, have mercy on us. Will this weeping never end? What can I do to help her, My darling, my beloved? (Cara mia, cara...

Author: /time Magazine | Title: O Baby, Baby | 4/13/1998 | See Source »

...Mining Action Project. From Denver the Cessna 210 heads south to New Mexico, then north along the spine of the Rockies above ulcerated | earth where the land has bled money -- from gold at Victor near Pikes Peak, and at Battle Mountain near San Luis, Colorado; and from molybdenum at Questa in northern New Mexico and at the vast Amax mine near Leadville. The hawk's-eye view shows the wreckage of mountains, dead land that will not revegetate, soured rivers, towns left to wither when mineral prices dropped and distant corporate directors cut their losses...

Author: /time Magazine | Title: Mother Lode Vs. Mother Nature | 11/22/1993 | See Source »

...doing so disproves the theory that a singer who loses much weight loses vocal beauty. The voice is in lustrous condition. Pavarotti gave a virile E lucevan le stelle from Tosca, an aria that is often more wept than sung. He took on Beethoven's In questa tomba oscura, an unyielding piece, though a war-horse of recital repertory. In the last two bitter words, ingrata, ingrata, he showed how a bold singer with operatic instincts can bring pathos to the whole song. Perhaps the most perfect, if not the most ambitious number was Tosti's limpid Ideale...

Author: /time Magazine | Title: Music: Luciano's Back in Town | 3/6/1978 | See Source »

Beyond a doubt, it is Soprano Nilsson who dominates the production. The famed second act aria, In questa reggia, and the whole scene that follows - in which Turandot poses the riddles which Calaf must solve to save his life and win her hand -is one of the most difficult half-hours in all opera. Callas, who sang a fine Turandot, rarely managed it without alarming wobbles; Nilsson's voice was unshakable...

Author: /time Magazine | Title: Music: Golden Age | 3/3/1961 | See Source »

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