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...apiece) awarded to 2,800 white-collar types. Simultaneously, doctors in three of Italy's 30 medical unions struck, demanding higher wages and better working conditions in clinics. Then the opera went on strike, darkening stages just before performances of Strauss's Fledermaus in Rome, and Rossini's Moses at Milan's La Scala...

Author: /time Magazine | Title: Italy: The Hot Iron | 4/23/1965 | See Source »

...scenery," Wallmann became the natural choice to direct premiere performances, from Darius Milhaud's David to La Scala's now-famed 1958 rendition of Turandot with Birgit Nilsson. Now Wallmann is off to Rome and a new opera by Italian Composer Mario Zafred; next, a production of Rossini's Zelmira at Naples, and Verdi's Otello for the opening of the Athens Festival. If her schedule holds, Wallmann will make it to Manhattan in time to mount La Gioconda for the opening of the new Metropolitan Opera House at Lincoln Center in the fall...

Author: /time Magazine | Title: Opera: The Lady General | 3/12/1965 | See Source »

Last week Marilyn Horne was back on stage with Soprano Sutherland in the Boston Opera's production of Rossini's Semiramide. This time there was no overlooking her. For one thing, she was five months pregnant and singing the hero's role of Arsace, an officer in the Scythian army, complete with beard and free-flowing robes. For another, she sang magnificently...

Author: /time Magazine | Title: Opera: Out of the Shade | 2/19/1965 | See Source »

Newscaster's Diction. Though Semiramide is musically the most brilliant of Rossini's 35 operas, it has not been staged in the U.S. since 1906. Written in 1823 as a florid showcase for the human voice, Semiramide is among the most fiendishly difficult of all operas to sing, a kind of vocal decathlon that requires a range and stylistic flexibility that few if any modern-day singers would or could tackle-that is, until Horne and Sutherland came along. But both their husbands decided that not even Rossini's musical scrollwork was adequate to display the full...

Author: /time Magazine | Title: Opera: Out of the Shade | 2/19/1965 | See Source »

...enchantingly in the final act in which the two coloraturas melded voices in a breathtakingly lovely duet. Marilyn exhibited a regal voice that spans two octaves, warm and bronze-toned in the middle, vibrantly brilliant at the top. With the diction of a newscaster, she breezed through the complicated Rossini libretto as easily as a mother singing a nursery rhyme...

Author: /time Magazine | Title: Opera: Out of the Shade | 2/19/1965 | See Source »

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