Word: scala
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...career, but not in the way it would seem. She's already a superstar, so the Met's belated recognition of her is a slight anticlimax. This production of Siege, mounted in 1969 for the centennial of Rossini's death, was the vehicle for her debut at La Scala in Milan; even then she had already been acclaimed as one of the greatest coloratura sopranos of this century. The production was so successful that the Met bought it and signed its first contract with Sills--that bastion of complacent conservatism having taken six years to acknowledge what everyone else...
Despite the promise of her voice, there were those at Milan's La Scala in 1956 who wondered if Madame Butterfly should be 5 ft. 10 in. in her zori. But American Soprano Anna Moffo went on to make a dazzling operatic debut, and since then Cio-Cio-San has been one of her favorite parts. Last week Anna had a chance to restudy the role in Butterfly's homeland. On her first visit to Japan, she wasted no time becoming acclimatized. To the delight of the tourists, she tripped through Tokyo's Chinzanso Gardens...
...lush and sensuous as the costumes they wore, a troupe of actors known as the Glorious Ones played their hearts out to street audiences in 17th century Italy. Their improvisations were passionate and bawdy, but so charming that even Church-supported French nobility were seduced into laughter. Impresario Flaminio Scala concocted such a dynamic group by painstakingly typecasting each member perfectly. So all they needed to do--Armanda the grotesque but sharp-witted dwarf, Pantalone the cross miserly Jew, Dottore the pompous doctor of quackery, Brighella the spiteful gadfly, and the others--was get up on stage and play themselves...
...only feel a love that was laden with hate and scorn; thus they were impotent or sterile. Her second pronouncement is harsher, but contained in an incongruously mild aside. Speaking of her husband Francesco, who by the end of the book had wrested command of the troupe from Flaminio Scala, she commented...
...second opera stage for intimate performances of small-scale works unsuited to a 3,800-seat house, with the dual purpose of providing young artists with wider exposure while attracting audiences not smitten with standard repertory. But lacking a convenient junior theater like Milan's 600-seat Piccolo Scala or Munich's 500-seat Cuvillies Theater, and with no money to build one, the plan lay gathering dust until last spring, when Bing's successor, Göran Gentele, took it up. Gentele's plan to use the Juilliard School Opera Theater fell through...