Word: solos
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Dates: during 1950-1959
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...first full-scale U.S. auditorium concert in five years when the Chronicle quoted him as lamenting: "I am sorry now that I quit the concert stage because of politics. I see now that I should have gone on with my work." To some, these words sounded like a contrite solo, but Robeson himself soon drowned them out with the bizarre protest that the capitalist press was maligning him as a nonCommunist. Rumbled Robeson: "These nice people are trying to make me as they want me-to save me from my better self. I have not changed my views...
...show business becomes, at a bound, a brilliant song-and-dance man. His triumph, to be sure, stems from something less than singing, and seldom exactly dancing; it grows from a leg-and-larynx zest, a mating of sales-talk incantation and engaging panhandle stride. And something of this solo zip is mass-produced in the festive small-town spin of Onna White's dances. Prettily singing the show's over-pretty romantic tunes, Barbara Cook provides a contrastingly quiet charm. The Music Man is not pure cream, only nice, fresh half-and-half. But it particularly catches...
Three of the Crimson's goals came on a slap shot by Owen, a scuffle in front of the cage, and a solo by Higgenbottom. The only goal that came as a result of an organized pass pattern was a typical Cleary-Lyle Guttu score...
...concert opened with a vigorous performance of Vivaldi's Concerto Grosso for four solo violins. David Hurwitz, Ronald Hathaway, Katherine Gratwick, and Ruth Miller performed the solo parts with consistent vitality and precision, if not perfect intonation. Although the contrast between the ensemble and the concertino group was not as great as it might have been in a larger orchestra, the string section demonstrated once again its brilliance and fullness, while Mr. Senturia emphasized the formal power and relentlessness of the concerto...
...dancers tie themselves up in little knots and delight in getting out of them gracefully. As the music mocks itself-in a trumpet jeer or a pizzicato poke-the dancers mock the music with a hop, skip or bump. Most dramatic bits: Canadian-born Melissa Hayden's stunning solo variation and a languorous, sensual pas de deux exquisitely danced by Virginia-born Diana Adams and Arthur Mitchell, a talented Negro member of the company. The whole work takes less than 25 minutes, but it unmistakably shows Composer Stravinsky, 75, and Choreographer Balanchine, 53, at the top of their formidable...