Word: scotto
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Dates: during 1960-1969
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PUCCINI: MADAMA BUTTERFLY (Angel). Although nicknamed "Madama Butterball" by her more pernickety listeners, Renata Scotto still does her best to fulfill the image of the 15-year-old Japanese teenager, and has successfully made the role one of her specialties. Her rather metallic intonations are warmed by the richness of Rolando Panerai's baritone and Carlo Bergonzi's tenor, while Conductor Sir John Barbirolli exposes enough colors in the opera's palette to prove that it may not be so smart to sneer at Puccini's musicality...
...Romeo and Juliet story that owes little to Shakespeare, Capuleti, with Bellini's intimate scale, pervading sweetness and utter predictability, is a distinct contrast to Verdi's powerful, primitive themes and vaulting imagination. But the company -notably the two leads, Tenor Giacomo Aragall and Soprano Renata Scotto-traded the flawed gusto of its Trovatore and Nabucco performances for restraint and quiet artistry, making Capuleti the only production of the week to come off with cohesiveness and unity of effect...
...dividends, the two-bit Gallo and Profaci mobs cannot even afford to fix the cops. Tough Tony Anastasio, the stevedore Caesar who ruled the waterfront for a generation before he died in 1963, has been succeeded by a Ciceronic son-in-law, Brooklyn College Graduate Anthony-never Tony-Scotto...
...make little effort to attract luminous young men. Salaries are low, advancement slow. Young talents who are drawn to union careers for ideological reasons often quit in frustration. There are, of course, some exceptions. The boss of a big Longshoremen's local in Brooklyn is college-trained Anthony Scotto, 30. He is a special case: he was hand-picked by the late Tony Anastasio, who happened to be his father-in-law. And one of the fastest-rising men in the Ladies' Garment Workers is Dave Dubinsky's son-in-law Shelley Appleton, 45. Obviously...
...difficult to discuss Fanny in anything but theatrical terms. Filmed in 1932 from Pagnol's play, which was produced the winter before in Paris, Fanny subordinates everything technical to the story, and employs no particularly startling use of camera or sound. Vincent Scotto's music is unobtrusive and appropriate. The film's beauty rests in the simplicity of its plot, and in its sensitive character sketches...