Word: sopranoes
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...stage, the pre-speech entertainment, soprano Joan Moynaugh, director of Musicians for LaRouche, speaks with a strangely moving rhythm. "We sing because it is natural to do so... The spirit moves and the spirit sings--it is an informed spirit to be sure... We have been in the company of geniuses... Tonight we play the work of these musical geniuses for a man who in his own realm is a genius..." And then, for 45 minutes the great religious homages of the masters, "And the Glory of the Lord shall be revealed," "And he shall purify," "I know thay...
...color scheme of the Fledermaus ball at Boston's stately Copley Plaza was black and white, but the 400 guests were blue. For the affair marked Bubbles' Beantown finale, the last Boston appearance for Soprano Beverly Sills, who had just sung Rosalinda in the Strauss opera. Sills' white dress balanced Director Sarah Caldwell's black gown, but not Caldwell's mood as she pooh-poohed the notion that Sills would be happy as non-performing director of the New York City Opera. Predicted Caldwell: "Your voice has a voice...
...attitudes. But if Shipley evokes various girl groups, Benatar sounds like all of them packed tight into one. She can put a lot of sass into a song like I Need a Lover ("Who won't drive me crazy"). Benatar's teen-age studies as a coloratura soprano have taught her, she says, "a lot of technique and stamina - I can scream without hurting myself...
Strauss: Four Last Songs; Orchestral Songs (Soprano Kiri Te Kanawa, London Symphony Orchestra, Andrew Davis conductor, Columbia). The early items included here were written in the 1890s; the famous Four Last Songs, incredibly, date from half a century later, in 1948, when the 84-year-old Strauss roused himself to compose shimmering valedictories to nature, life and in effect to the 19th century. Te Kanawa's singing, with its creamy tones and long, effortlessly soaring phrases, is simply ravishing...
Berlioz: Béatrice et Bénédict (Mezzo Janet Baker, Tenor Robert Tear, Soprano Christiane Eda-Pierre, John Alldis Choir, London Symphony Orchestra, Colin Davis conductor, Philips; 2 LPs). In his final work, the ailing Berlioz took Shakespeare's Much Ado About Nothing and made it into his own Tempest, a blend of wit, ardor and gentle sadness bathed in the amber light of a late Parisian afternoon. The opera may be better heard than seen, since its extended passages of French dialogue make it problematical to stage; certainly it is a pleasure in this buoyant...