Word: rigoletto
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...Carnegie's big stage, Anna Maria had gone through a program that might have taxed many an older, more experienced singer. She had sailed confidently and surely through the coloratura flights of Rigoletto's Caro Nome and Una Voce Poco Fa from The Barber of Seville, had expertly sung the difficult death aria from La Traviata. In her pink silk party dress, hands clasped in front of her, she sang her songs in a clear sweet voice that made one listener stand up and shout in rapturous Italian: "Un' angelo dal paradiso...
...career-making voice. He got his first break in opera that same year in Dresden from Conductor Fritz Busch; he was still singing with the company on the dark day in March 1933 when Hitler's hoodlums broke up Busch's performance of Rigoletto. Soon after Busch left the country, Schoeffler went to Vienna, where he sang throughout the war. Since the war, engagements at opera houses from Milan to Covent Garden have kept him on the move...
...present tenant at the Kenmore, Verdi's "Rigoletto," was filmed entirely on the stage of the Rome Opera House with singers recruited from La Seals. There has been no attempt to make it anything more than a celluloid recording of a performance. No dialogue has been added (and subtitling the arias would be to no one's good). For those patrons unfamiliar with the Victor Hugo story, there is a vastly confusing precis of each act written on the screen before each curtain-rise...
...Though "Rigoletto" is irritating for its failure to make use of the latitude the cinema offers, it is nevertheless a film no opera-lover should miss. Both vocally and dramatically, it is doubtful if a better "Rigoletto" could be arranged. Tito Gobbi, in the title role, is likely to make a lasting impression on the spectator. In both his sound and his fury, he is a thrill to hear and see. All of the other parts are well done; notably Anna Maria Canali as Maddalena and Marcella Govini as Gilda. I feared for a while that Miss Govini...
...Tristan, which Perlea directed, sounded different from any performance they had ever heard before. The voices were familiar: Melchior and Traubel sang the title roles. But the performance seemed to have a new sweetness and clarity, a subdued splendor. Says Perlea, "Too many conductors mistake heroic for loud." In Rigoletto, he proved that he knew how to build a musical melodrama without throwing away climaxes. The result: when the real climax came in the last-act murder scene, it was overwhelming. Carmen was the same story; with the pace he gave Bizet's fast-moving tragedy, it seemed...