Word: soloed
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Dates: during 1950-1959
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...slower, sustained tempo. Catelinet poured out a rich sound, often booming up from the bass into a fruity contralto. Warmed up now, he launched into the difficult final movement with confidence. The tuba lumbered along in its elephantine way and right into another cadenza. This time Catelinet's solo came off well, and tuba and player ended with a fine flourish...
...second day observers got a closer look of genius at work. As the orchestra hushed to a quiet, the old man came onstage, baby-pink and robust. He was chewing his favorite cherry pastilles. Titian-haired Soprano Nelli was all set for her first solo, Ritorna Vincitor!, from Aïda. The maestro conducted vigorously. Whispered a technician in the control booth: "What a man! Look at that beat." With the run-through and actual recording completed, the playback started. Toscanini listened intently, poring over the score, at times reconducting the music. In his high-collared rehearsal jacket, he looked...
...huge opening-night program featured no fewer than 13 separate items, from brief solo dances and pas de deux to the whole third act from Romeo and Juliet. For Western tastes, the costumes were both overly lavish and tacky (although the ballerinas are usually sewn into them), and the sets seemed stodgy. But the dancing was just about as good as legend...
...Ralph Kirkpatrick, who is a pupil of Wanda Landowska), Fernando Valenti thinks harpsichordists must play for wider and wider audiences if interest in the instrument is not to die out. He is building a reputation as one of the most imaginative harpsichordists in the U.S., giving some 20 solo recitals a year and lecturing about the music he plays. Valenti has begun a musical marathon: recording all 555 of Scarlatti's gemlike Sonatas (for Westminster). In the past three years he has completed 72, but half seriously wonders whether he will ever be able to finish...
...culmination. The cantata's failure to do these things is attributable to several factors. There seemed to be virtually no relation between orchestra and chorus. The vocal sections were usually accompanied by only the piano, and it is significant that the one exception--Robert Gartside's tenor solo with light orchestral accompaniment--was among the high points of the performance. The conducting of Michael Greenebaum kept the difficult music on a fairly even keel. Perhaps if the performers had been more confident and better rehearsed, the cantata might have seemed more of a unified whole...