Word: rossini
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Rossini: The Barber of Seville (Luigi Infantine, tenor; Carlo Badioli, bass; Giulietta Simionato, mezzo-soprano; Giuseppe Taddei, baritone; Antonio Cas-sinelli, bass; orchestra and chorus of Radio Italiana, Fernando Previtali conducting; Cetra-Soria, 6 sides LP). Barber fans, used to hearing Rosina's arias trilled airily by a coy soprano, will be surprised to hear the role sung here by a more mature-sounding mezzo - as Rossini wrote it. Mezzo Simionato brings it off beautifully; so does Baritone Taddei as Figaro. Conductor Previtali keeps it sparkling throughout. Recording: excellent...
...first glance, it is hard to see just what makes the Columbia boys good. The squad began the season without three of last year's top first-stringers, lost through graduation; it has no brilliant stars. Acting Coach Lou Rossini, who was a Columbia varsity player himself five years ago, took over from his ailing chief, Coach Gordon Ridings, in the first month of the season. Says Rossini: "Ridings had the boys in shape, and I just picked up where he left off." Rossini has done a good job of picking...
...year, for the first time, Columbia has adopted the strategy of the "fast break," in which players pick off opponents' shots from the backboard and streak for the other basket without waiting to organize a formal, downcourt play in advance. Sometimes, when opponents are expecting the fast break, Rossini crosses them up by reverting to conventional, and slower, tactics...
With only seven games to go, most with teams it has already beaten, e.g., Yale, Princeton and Penn, Columbia looks like a cinch to represent the Eastern League in the N.C.A.A. championship playoffs next month. Rossini & Co. do not seem overwhelmed at the thought of running up against such national strong boys as Kentucky, Oklahoma A. & M. and Bradley. Says Rossini: "The Ivy League is as strong as any in the country. I think we'd win our share in any league...
...success Berlioz wanted most came almost too late. As an operatic composer he won the respect of his contemporaries -Wagner, that "gay fat man" Rossini, Meyerbeer, Auber-but not the plaudits of the public. His Benvenuto Cellini flopped after four performances; the "concert opera" Damnation of Faust fell with a thud. When he was 59 and Beatrice and Benedict and The Trojans at Carthage had achieved a success, a friend remarked that people were finally coming to his operas. Replied the ailing Berlioz: "Yes, but I am going." Six years later, Berlioz was gone. At the end came an incident...