Word: singe
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Dates: during 1970-1979
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...bulk of praise for the performance is due the chorus. The singers are extraordinary. They are capable of great projection, as in the also entrance of the first Kyrie eleison; and they are equally able to sing softly and expressively, as in the Confiteor unum baptisms. Their diction was clear; and strong emphasis was reserved for truly significant moments like the Crucifixus. The Choir showed immense poles in handling violent transitions: the Et resurrexit was a shock to the audience. Only once in the Cum Sancto spiritu was an entrance made without seemingly total assurance...
...Similarly, men who called Luce a fascist in the 1930s could not face the fact of Stalin's purges. Today liberals regard the American labor movement as warmongering, reactionary and materialist; 40 years ago, they assumed that the rise of strong unions would make egalitarian America awake and sing. The sense of One Worldly responsibility that Luce and others followed to stir the U.S. out of isolationism in 1937-1940, and so help preserve Europe from Adolf Hitler, has now become a rhetorical excuse for bombing Viet Nam. That is, among other things, an American tragedy, which might have...
...ingredients within me instinctively to make the kind of Carmen he wanted," Horne recalls. They just may have included the fact that she owns one of the great soprano voices of the century, and controls its reach and richness with a mind and manner unsurpassed by any soprano singing opera today. Horne also proves, to the surprise of many, that she can act -not as well as she can sing, but well enough. As Carmen, her face is a catty catalogue of all the baser emotions. Her hands are a dithyrambic dialogue, as when she plays the castanets with...
...More people have heard Marilyn Horne sing Carmen than are aware of it. In 1954 she dubbed the sound track for Dorothy Dandridge in the 20th Century-Fox movie adaptation of the musical Carmen Jones. Otherwise, she has been in no hurry to sing the role on America's major opera stage. Born in Bradford, Pa., raised in Los Angeles, Horne is one of a number of outstanding American singers who prefer to come to the Met only when they are ready for it-and it for them...
Mainly as a result of her stubborn faith in her own instincts, Horne at 18 flunked out of the opera workshop at the University of Southern California. To sing Carmen at that age, as the director insisted, would ruin her voice, she felt. Yet at 21, she was one of Los Angeles' more prominent singers, performing Palestrina and Brahms with the Roger Wagner Chorale and Igor Stravinsky with Igor Stravinsky...