Word: renata
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...theatrical vehicle, Prokofiev's libretto is so outlandish as to be curiously fascinating and, at times, good fun. Based on a Gothic tale by the Russian symbolist writer Valery Bryusov, Angel is set in 16th century Germany and revolves, or rather, rolls around a fetching young damsel named Renata (Soprano Eileen Schauler). Unfortunately, she has an advanced case of the screaming meemies. In the first act she bares her problem in a long aria while writhing around the stage on her stomach...
...RENATA TEBALDI (London). The diva serena had not recorded for two years, but these nine Italian arias, only one of which she had recorded before, bring generally good news of a still-shimmering voice. Not all the high reaches are easily secured, but her warmth, womanliness and pleading pianissimos are most touching in some of the other roles, notably that of the mother in Cilea's L'Arlesiana singing Esser madre è un inferno...
...intellectualism today comes not from outside but inside the intellectual community. New York University Sociologist Ernest van den Haag points out that much campus protest, though carried on in the name of academic freedom, is really mindlessly anti-intellectual in its indiscriminate call for "activism" and hell raising. Critic Renata Adler thinks that perhaps the strongest anti-intellectual forces at present are the "uneducated and unearned nihilism" of pop art, which holds that the meaningless is entertaining, and the enthusiasm for "camp," which holds that the mediocre and the ugly are amusing. The attitude is typified by Pop Painter Andy...
...Pistol-Packin' Mama. At 15, she was singing in Toronto dives. "If you learn to hold an audience of drunks who would rather be noisy, you can surely hold people at the Met who pay to hear you," she says. She saw her first opera at 16, when Renata Tebaldi sang La Bohème's Mimi in Toronto. At 20, she outsang 2,000 contestants to win the annual audition and a contract at the Metropolitan Opera...
...reissuing under the Richmond label such gems as George Szell conducting the Concertgebouw Orchestra in Brahms's Third Symphony and the Mozart Requiem conducted by Josef Krips at the bargain-basement price of just $1.98 per record (formerly $4.98). Sales were brisk, so London reissued ten operas, including Renata Tebaldi in La Boheme and Madama Butterfly. Mercury followed London's lead, establishing its Wing label, featuring such surefire favorites as suites from Tchaikovsky's Sleeping Beauty, Nutcracker and Swan Lake ($1.98 for mono, $2.98 for stereo), ably rendered by Antal Dorati and the Minneapolis Symphony...