Word: soloist
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Dates: during 1950-1959
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...soloist, Jean Lunn, realized fully all the expressive and emotional possibilities of these songs. Her voice, although not a big one, is suited to the demands of this kind of music. The performance was properly dramatic, the last song, "Geburt Christi," being particularly exciting...
...soloists, Grace Hunter, Wesley Copplestone, and Thomas Beveridge '58, were uniformly excellent in quality of style and technique and in intonation. The main problem they faced was that Miss Hunter's tone was noticeably larger and stronger than either of the others'. Singing from in back of the orchestra, the men's voices sounded somewhat thin. Curiously enough, this was more apparent in the solo arias than in the ensembles, where the balance was much better. Miss Hunter performed with spirit and facility, and her singing with the chorus was particularly effective. Mr. Beveridge, the only non-professional soloist...
...still a knickerbockered scholarship student at Philadelphia's Curtis Institute of Music. A local critic decided that his "assurance, ease and poise" were "a bit terrifying." The son of Russian-born parents, he followed a path after Indianapolis that is familiar to many another promising young U.S. soloist: special award in the Rachmaninoff Fund's nationwide piano contest, guest appearances with half a dozen U.S. symphonies, an RCA Victor recording contract. In the in-between years, when the glamour of being a teen-age virtuoso wore off, he dropped almost from sight on the community concert circuit...
...this symphonic reconstruction of time past, there is a soloist: young Rufus Follet, who plays a lighthearted, vagrant air in counterpoint to the heavier orchestration. Death, to Rufus, is scarcely more complex than the other riddles flung at him each waking day-the nagging puzzle of why he should not speak about the black color of a Negro maid's skin; or why the older boys on their way to school solemnly ask his name and then go into fits of inexplicable laughter; or why a woman will suddenly become so very...
...orchestra gave its guest soloist full support throughout. Except for some bad moments at the violin entrance, resulting from the fast tempo taken in the ritornello, Poto followed the soloist with amazing precision. While the orchestra did not play with as much expressiveness, rhythmic drive, and intensity as it might have, it at least supplied vigor and accuracy. The winds lapsed into insecure entrances and poor intonation at the beginning of the second movement, but their solos were generally good, especially those of oboist Michael Palmer. Miss Martzy received an immediate standing ovation at the end--a rare event...