Word: songe
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Dates: during 1900-1909
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Except in one or two instances when the principals were slow in picking up their cues, their work was spirited and natural. Their lines, as well as their songs, were given clearly and distinctly, without any apparent nervousness. The leading role--that of King Philippine,--was taken by J. C. Miller 1L. He portrayed the avaricious, whimsical old man in a very amusing manner. H. F. Hurlburt 1L as Lord Chichester was excellent. His lines were pointed; and he had cultivated a laughable twang together with the languor and stupidity of the stage Englishman. His song in the second...
...night. The various numbers on the programme were well received by a small but appreciative audience. One of the best selections was "Noi che Sapete," from Mozart's Marriage of Figaro, sung excellently by Miss. Laura M. Comstock. The double quartette of the Pierian Chorus sang Buck's Wine song, "Huzza" very successfully...
...from Rienzi, Wagner Pierian Sodality Orchestra and Chorus. Voi Che Sapete, Mozart Jesuis Titania, Thomas Miss Laura M. Comstock. Andante Con Moto from Unfinished Symphony, Schubert Pierian Sodality Orchestra. Ode to Music, Zoellner Radcliffe Choral Society, with Orchestral Accompaniment Soloists, Miss L. M. Comstock, Miss M. Beard Huzza (Wine Song), Buck Double Male Quartette. Five Hungarian Volksongs, Mandyczewski Radcliffe Choral Society. Trutzlied, Attenhofer Pierian Sodality Orchestra and Chorus. Baritone Solo, H. H. Ballard '05. Fair Ellen, Bruch Pierian Sodality Orchestra and Chorus, and Radcliffe Choral Society. Soloists, Miss M. Fiske, Mr. S. Baird...
Besides the poem "To The Tenton People," read at the reception to Prince Henry in the Union, the poetry in the Monthly includes "The Child," by H. W. Holmes; "Spring Song," by J. W. Helburn, and "The Death of Clairenil, Governor," by H. S. Pollard. With the possible exception of the last, any of these might be left out without decreasing the sum of literature in the number...
...this season. The soloist, Madame Schumann-Heink, was in perfect voice, and received many recalls. Her first number, the Aria from Mozart's "Titus," showed the wonderful range of her voice, and its superb dramatic power. But the richness and tenderness of her voice appeared best in Schubert's song, "Die Allmacht," her second number...