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Word: solo (lookup in dictionary) (lookup stats)
Dates: during 1870-1879
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Usage:

...with the main line. On the regular train they fell in with the Swedish male quartette, who sang delightfully. Farewell songs were sung in the station at Boston before an enthusiastic audience of policemen, brakemen, and conductors, and the Club then disbanded. We give the programme: "Three Glasses," Fischer; Solo, by Mr. Morse; "Serenade," A. E. Marschner; Trio, by Messrs. Apthorp, Deane, and Munroe; "The Three Chafers," H. Truhn; "Water-Lily," Fr. Abt; Trio, by Messrs. Apthorp, Deane, and Munroe; "Evening Song," J. Naater; "To the Bravest," F. Mohring; Duet, - Piano, by Messrs. Deane and Heard; College Songs...

Author: NO WRITER ATTRIBUTED | Title: THE GLEE CLUB CONCERT. | 11/23/1877 | See Source »

...Gorman's rendering of Rossini's fantasia from La Gazza Ladra was graceful, light, and airy, and in perfect keeping with the supposed mischievous, mocking character of the subject. He was warmly encored. But the finest individual effort of the evening was Mr. Russak's piano solo, "Regoletto," from Liszt. In answer to an encore he played Mill's "Murmuring Fountain." How far one's judgment may be biassed by outside motives is of course hard to say, but we thought at the time, and have found no cause to change our mind since, that Mr. Russak's playing...

Author: NO WRITER ATTRIBUTED | Title: THE PIERIAN CONCERT. | 3/23/1877 | See Source »

SCENE, Glee Club Concert. - Snodkins, '79, after listening to an unfinished solo: "It must be very hard for him to sing with all the young ladies looking...

Author: NO WRITER ATTRIBUTED | Title: BREVITIES. | 3/24/1876 | See Source »

...Babcock's bass solo was quite enthusiastically applauded, and formed one of the best features of the entertainment; his voice seems to have improved considerably since last year...

Author: NO WRITER ATTRIBUTED | Title: CONCERT OF THE GLEE CLUB AND PIERIAN SODALITY. | 3/24/1876 | See Source »

Leonora, in her singing and in her looks, achieved a great success. Her duets with the Count were invariably encored, and her solo, "Where art thou now, my beloved?" roused the most touching reminiscences, and was almost equal to the original. The singing of the gypsy queen Azucena was the best perhaps of the whole play, and the acting of the part, although slightly overdone, was very effective. Her solo, "It is the Sabbath morning," was exceedingly well sung, although its connection with the plot was not very apparent. It was very much regretted that so little was seen...

Author: NO WRITER ATTRIBUTED | Title: THE JUNIOR THEATRICALS. | 12/24/1875 | See Source »

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