Word: rossini
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...happened to sing O Sole Mio in the shower after taking second place in a local race. The man in the next shower told him he had a voice. Pinza was soon on his way to Bologna, where home-town folks chipped in to help him through the Rossini Conservatory. He scarcely had time for a jerkwater debut, when he was mustered into World...
...Vienna or the other side of the tracks. No "classicist" in his right mind would fail to recognize jazz, when well done, as art, deserving as much, if not more, respect than many of the patched-up things which, under the name of a Lizst, a Smetana or a Rossini, pass for "classical" music. It is up to the popular musicians to get over their inferiority complex, and work to give their style of music the place in the musical hierarchy it is potentially worthy...
...hero in Pathé's serial The Lone Rider. ("Those horses bounce the bejesus out of me-I hate 'em.") But Houston has learned things in Hollywood. He takes grand operas in hand, revamps the stories, alters characters, rewords arias-and of course translates them into English. Rossini's The Barber of Seville, now in rehearsal, he telescoped from a three-and-a-half to a two-and-a-half-hour opera (including intermissions), put in spoken dialogue, built up the lesson scene between Rosina and the Count by adding comedy lines, changed Dr. Bartolo from...
...Rossini: The Barber of Seville (Charles L. Wagner Production, with Hilde Reggiani, Bruno Landi, Carlos Ramirez, Lorenzo Alvary, John Gurney and other artists, conducted by Giuseppe Bamboschek; Victor; 16 sides). This album is a condensed version (excerpts pieced together to make up a half-length score) sung by a second-string cast (virtually the same company which gave 65 Barbers on tour in two autumn seasons). But the excerpts are expertly chosen, skillfully welded; the singing is good; the performance brightly paced; the recording excellent. Net effect: highly satisfactory...
...Metropolitan Opera Guild collected a jury in its famed red-and-gold interior. Critic Olin Downes argued for opera in the composer's language. Ex-Prima Donna Florence Easton pleaded for translation into the audience's tongue. Metropolitan Stars John Brownlee and John Carter sang parts of Rossini's good-humored The Barber of Seville, first in Italian (hushed attention), then in English (ripples of laughter). The rather frightening vote: 460-451 in favor of opera -in -the -original, a hair-splitting 50.5% for continuing the Met's traditional ways...