Word: sopranoes
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...irresolution. The solo quartet, however, was unconscionably bad. The bass, Mr. Mac Morgan, was totally inadequate to his tasks, displaying no vestige of tone and only a certain diaphrammatic eloquence. Paul Huddleston, the tenor, was the best of the four soloists, but was unremittingly routine. The two women, soprano Chloe Owen and contralto Mary Davenport, sang like superannuated Valkyries, spoiling the quartet passage with their mettalic loudness, and obliterating every bar they touched...
...ETERNAL LIGHT (NBC, 12 noon-1 p.m.). In the first segment of a program observing the Jewish holiday Hanukkah, Metropolitan Opera Soprano Roberta Peters talks with music critics and Commentator Martin Bookspan about her travels in Israel. Part II, entitled "Habima 50," tells the story of the 50-year-old Israeli National Theater...
...that subtle manic hysteria with which he fleshed out a man as well as a part in Scuba Duba. The acting gem of the evening is the bit part of an amorous alcoholic pickup played by Marian Mercer. Vocally, she slithers through her lines with the glissando of a soprano trombone. Her timing is perfect. She braces her body as if she could be pushed over with a swizzle stick, and she convicts the show of mere competence by her own distinction...
...congeries of mercanto-ecclesiastical hoaxes. This work could well be the last great Mass ever written. The Society's performance possessed a certain Antarctic charm completely devoid of devotional feeling, but was plunged into obliquy by mispronunciation in the Kyrie (Keer-eiyeh) and the sinusoidal vibrato of the soprano and alto soloists in the Gloria. The choir plodded through the long Credo with sacerdotal vindictiveness but decided to clear up its wooly tone for the exquisite Sanctus. It was on the whole a bloodless performance of an intensely religious work...
...WORKS. Britten's Hymn to St. Cecilia, and Dello Joio's To St. Cecilia, were surpassingly unremarkable. The only marginally interesting section of the Britten piece, which uses a problemmatical Auden text, was a Queen Mab Scherzo passage affording relief from the "flickering flames" of "Blonde Aphrodite." The unidentified soprano soloist thrilled us with another seismic performance whose beauty might be compared to an autumnal wheat field methodically bending to the breeze. Mr. Dello Joio, whose star has been rising ever since his epochal Air Power brought home the Caligulan glory of the air force to the musically thirsty, seems...