Word: singher
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...Hoffmann had some serviceable singing by the large cast, with Tenor Richard Tucker in particularly mellow voice and French Baritone Martial Singher singing with enormous power and control. Roberta Peters was the pert doll. The standout was Soprano Lucine Amara. who brought to the stage the kind of dazzling vocal splendor that made the Met famous. The sound of her voice was eggshell-fragile, sunset-colored, and so surprisingly powerful that the audience burst into cheers at the end of her big aria...
Berlioz: The Damnation of Faust (Suzanne Danco, David Poleri, Martial Singher; Harvard and Radcliffe choruses; Boston Symphony conducted by Charles Munch; Victor 3 LPs). The greatest translation into music of Goethe's Faust, this score reaches heights of drama and tenderness undreamed of in Gounod's more popular version. Mephistopheles makes his entrances to portentous, brassy thunderclaps, Marguerite changes from an innocent child to a passionate woman in the toils of love, and Faust himself is almost painfully credible. The "dramatic legend" proved too big-and perhaps too tightly composed-to be a success on stage...
...most impressive when his work is performed with the insight of conductors like Charles Munch. Mr. Munch knows exactly where dull spots need his stimulus, and where he can let the phrases take their own course. Moreover, he had the advantage of excellent soloists. Suzanne Danco (Marguerite) and Martial Singher (Mephisto) sang with occasionally imperfect tone, but supreme understanding of how to translate French vowels and consonants into musical sound...
...instrument it can be, blending Debussy's music in a luxurious veil of sound, building subtly from the elusive sighings of the first scenes to the full-blooded climax near the end. Onstage, Baritone Theodor Uppman sang and acted Pelléas asif he believed him. Baritone Martial Singher (as the half brother), Basso Jerome Hines (as the half-blind grandfather) and Martha Lipton (as Pelléas' mother) all sang like fine anti-Wagnerians. And though the delicate voice of Soprano Nadine Conner (Mélisande) sometimes seemed half lost in the glimmering sound from the orchestra...