Word: scala
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Dates: during 1960-1969
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...appearances with the San Francisco opera. But it was in Europe that her career really caught fire. She made her European debut in Aïda in 1958, at the Vienna Staatsoper under Herbert von Karajan, has since sung in most of Europe's leading houses, including La Scala. This year at the Met she will also appear in Aïda, Butterfly, Turandot and Don Giovanni. On hand to see her debut last week were many friends and neighbors from Mississippi, who remember Leontyne as the little girl who used to play the piano at local funerals. Among...
When the small, dark-haired woman walked into Milan's La Piccola Scala, a stagehand took one look at her flushed, distracted face and called for the doctor. Her maid, hovering worriedly in the background, suggested a psychiatrist. Her husband was blunt: "Now I know what it's like to live with a madwoman." But three hours later, Soprano Graziella Sciutti, 29, was out before the curtain receiving one of the biggest ovations of her career. The part she had played to perfection: the title role in a rarely performed opera by Giovanni Paisiello (1740-1816), Nina, ossia...
Soprano Sciutti (pronounced SHOOTee) is often referred to as "the Callas of La Piccola Scala" chiefly because of her flaring emotions (both on and off stage) and her incendiary dramatic power. Her voice is not exceptional: lighter than most, it does not have a particularly beautiful finish. But, as she demonstrated again last week in Nina, she outdistances most other singers in the way she throws herself into a role. Sciutti so identified herself with Paisiello's heroine that "I started to think I was going completely mad." With every movement of her curvy body and every inflection...
...concert singer. After her concert debut in 1950, she won a few operatic parts (Lucy in The Telephone, Susanna in The Marriage of Figaro), did not really get launched until Herbert von Karajan cast her in the role of Frasquita in a 1955 production of Carmen at La Scala. After that, Sciutti opened every season at La Piccola Scala (La Scala's intimate, 700-seat annex, specializing in rarely done or light operas). Elsewhere, she has shown her great versatility by singing everything from Mozart's Requiem (under Bruno Walter), to a TV performance of The Merry Widow...
...voice with lipstick and powder"), but at the work's premiere the principal part was sung by U.S. Negro Soprano Adele Addison, who so impressed Poulenc that he interrupted a rehearsal to shout: "Parfait! Parfait! La perfection!" Poulenc plans to write a new opera for La Scala, and he is now working on yet another religious work, for a male chorus and children's chorus, to be performed at the opening of Manhattan's Lincoln Center. Both will be "completely, completely, completely different" from what he has done before. "Every age of man has its music," says...