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...program comprises music for both full chorus and madrigal groups including Randall Thompson's "Fanfare for Chorus" especially commissioned by Schmidt for the Chorus. Other pieces are excerpts from Purcell's "Come Ye Sons of Art Away," Brahms' "Tafellied," Palestrina's "Surgere Amica Mea," Mozart's Cantata K. 108 "Regina Coeli," Vaughan Williams' "In Windsor Forest," and the complete performance of Monteverdi's madrigal, "Hor Ch'el Ciel." Accompanists will be Bernard Kreger '59 and James Armstrong...

Author: NO WRITER ATTRIBUTED | Title: Chorus Will Perform In Sanders August 14 | 7/31/1958 | See Source »

Very Little Brine. The premiere glowed with the performances of Soprano Phyllis Curtin's surgingly passionate Cathy and Mezzo-Soprano Regina Sarfaty's portrayal of Nelly, the maid. The 36-ft.-wide stage often seemed too small to contain the action, and in his effort to achieve "immediacy," Floyd produced a libretto so cliché-ridden that it dissipated the briny sense of evil that hung over Novelist Brontë's book. But the sweeping, intricate score pulsed with moments of moving lyricism: Edgar's proposal to Cathy ("Make me whole again"), Cathy's "dream...

Author: /time Magazine | Title: Sport: Bronte in Song | 7/28/1958 | See Source »

...REGINA MALONEY The Bronx...

Author: /time Magazine | Title: Letters, Apr. 7, 1958 | 4/7/1958 | See Source »

Singers: Sopranos Lucine Amara, Mary Curtis-Verna, Gloria Davy, Leontyne Price, Eleanor Steber; Mezzo-Sopranos Nan Merriman and Regina Resnik; Contralto Jean Madeira; Tenors David Lloyd, Jan Peerce. Richard Tucker; Baritones George London, Robert McFerrin and William Warneld...

Author: /time Magazine | Title: Music: Culture for Export | 3/17/1958 | See Source »

...Cressida and William Siebert as Troilus, gave an earnest but uneven performance. At times, overacting marred scenes that required emotional intensity rather than emotional exhibition. Cressida often shouted, like a querulous child in a tantrum. Siebert gave a sensitive interpretation of Troilus, showing an understanding of his composite personality. Regina Oliver was commendable as Cassandra, although she needed more variety of voice. William Harris, as Cressida's father, suffered most from overacting and a reliance on stick gestures. The Prince Regent, Hector, was strongly reminiscent of Marshall Tito, but needed a more imperial air. Paris was overplayed as an asinine...

Author: By Petronius Arbiter, | Title: Chrysalis' Opens at Tufts | 7/11/1957 | See Source »

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