Word: soloed
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Dates: during 1950-1959
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Goldovsky has assembled a highly capable young company of solo singers and choristers; and some of them can even act. In this production, John McCollum is as fine a Count Ory as one could want. Ewan Harbrecht, as Countess Adele, has a small but beautifully trained voice, and tosses off all her demanding fioriture with complete case. Ronald Holgate (The Tutor) has a rich bass voice; all he needs now is to strengthen his bottom register. David Smith (Raimbaud) has a pleasingly full timbre, as has Doris Okerson (Ragonda) when she gets over her initial edginess...
...educations, and formula borrowed from the forbidding world of electronic music. What the uninitiated listener hears is a strange web of sound, frequently frightening and dense as all five instruments sweep from one extreme of their range to the other at top speed and volume; occasionally chilling, as a solo instrument attacks a note suddenly and disappears into a long silence...
...major work of the service in memory of the eminent English composer who died this year will be his "Five Mystical Songs," poems by by George Herbert set for baritone solo and chorus. John Horner, from the New England Conservatory of Music, will be the soloist. Motets and organ works by Williams will make up the remainder of the program...
...curtain hog, she has been known to refuse to take a solo curtain call after the third act of Manon Lescaut because "it is the tenor's act." Her patience with her fans is apparently limitless: she will sit hour after hour backstage after exhausting performances, dutifully signing autographs ("Poor things," she murmurs, "poor things"). She still regards public figures outside opera with the awe of a country girl on her first trip to the city. Several years ago she heard about the "Night in Monte Carlo" ball at Manhattan's Waldorf-Astoria, at which Prince Rainier...
Starting from a tone that, in its intensity and glowing beauty was altogether appropriate to the extremely emotional Romanticism of the work, de Pasquale fully realized the poetic quality of the piece, giving the solo line character and identity. Some of his small touches were inspired; especially memorable is his sensitive treatment of the arpeggios at the close of the second movement, which were handled with subtle delicacy and grace...