Word: solo
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Dates: during 1940-1949
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...month, absorbing the dandruff-eliminating elements and the hair-restoring elements right out of the banana. That's camomile steeping in the next bottle. Cures malaria. If you want to get fat, you can have pisco from the strawberry bottle; if you want to get thin, pisco puro, solo [straight...
Fine is highly esteemed by Koussevitzky and has been closely associated with him as a student of conducting at Tanglewood. Not long ago, Koussevitzky called him in unexpectedly to play the piano solo in the Martinu Concerto Grosso. During the rehearsal, Fine, who was reading the work for the first time, made a mistake. Koussevitzky mistook his grimace for a smile and stopped the Orchestra. In the thick Russian accents which defy reproduction, the Conductor announced, "When we make a mistake in this Orchestra, we don't laugh; we weep!" Koussevitzky was so impressed with the epigram that after...
...That was certainly the case last weekend. The Orchestra faithfully pledged through the first three movements. There were occasional groans from the audience when one of the brass players (hired specially to meet the requirements of Mahler's bloated score) went berserk. But starting with Nan Mcrriman's contralto solo in the fourth movement, things began to pick up, and by the time the Finale came along, everyone had forgotten the preceding movements...
...human voices, scarely audible, singing "Thou shalt arise, arise from the dead." It was a magnificent entrance. No shuffing of pages or motion of any kind hinted that the Chorus was about to sing. Its entrance was only a mysterious whisper floating out into the hall, carrying the seprano solo along on top. The discipline of the Chorus was a real tribute to its director, Professor Woodworth. Adcle Addison, the seprano soloist, sang her part clearly and beautifully. And for the second time in two years, Leonard Bernstein had successfully brought Mahler's Second Symphony to Boston...
...Mass was written for available talent at Salzburg in 1782. In that case the abilities must have been reversed, for Monday night Paul Tibbetts did the best bit of solo work with the one short phrase that makes up the bass part. No one could have any criticism, however, of Eleanor Davis' "Laudamusic," which was altogether competent. The soprano, Phyllis Curtin, had the most difficult role of all, particularly in the jumps of the "Et incarnatus est." Though she had many exquisite tones, she showed a slight unwillingness to land decisively on a note and sustain it. Tenor Summer Crockett...