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Over the years, many of the big names in music have turned up at Marlboro. Last week all 17 practice rooms were occupied every day. In the new dormitory, Baritone Martial Singher worked on Berlioz' Villanelle with a group of operatic hopefuls. In another cottage, Pianist Claude Frank discussed with Violinist Zvi Zeitlin how to weave the frail melodies of the strings with the fluttering piano passages of Gabriel Faure's Piano Quartet No. 1. Violinist Alexander ("Sasha") Schneider ran through a set of Beethoven sonatas with Artistic Director Serkin's twelve-year-old son, Peter...

Author: /time Magazine | Title: Music: We Are All Students | 7/18/1960 | See Source »

...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...

Author: /time Magazine | Title: Music: Hoffmann & Papa | 11/28/1955 | See Source »

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...

Author: /time Magazine | Title: Music: New Records, Sep. 27, 1954 | 9/27/1954 | See Source »

...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...

Author: By Robert M. Simon, | Title: Damnation of Faust | 2/23/1954 | See Source »

...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...

Author: /time Magazine | Title: Music: Anti-Wagner Opera | 12/7/1953 | See Source »

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