Word: sopranoes
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June Anderson has a wish list. First, she would like to star in a marvelous, imaginative production of Lucia di Lammermoor. That means, the soprano quickly adds, one utterly unlike the pedestrian ones she has already graced. Anderson would also like to sing the role of Violetta in La Traviata, but declines to do so until a satisfactory stage director can be found. She admits that she cannot think of one. "I can wait," she says philosophically. "But who knows? I may be too old when it finally happens." A third wish is that a fine young tenor would appear...
...voice is a lyric soprano with an unusual coloratura, capable of unearthly runs, trills and ornaments, but with a bigger, lusher sound than most. Anderson commands the bel canto repertory, whose heroines tend to be, as she puts it, "girls who are sad, mad or dead." She herself is a larger-than- life heroine with a bravura temperament to match her voice. If critics see her as a young Joan Sutherland, opera fans compare her with Maria Callas. Like la Callas, Anderson stirs things...
...example, and what have been called "the song jewelers": Gershwin, Kern, Berlin. "I liked this music. It satisfied something." He also discovered ragtime and helped spearhead its revival in the 1970s with a nonchalantly elegant recording of rags by Joplin, Lamb, Scott and himself. More important, he discovered mezzo-soprano Joan Morris and began accompanying her around the country in dear old ditties like Will You Love Me in December as You Do in May? They married in 1975, and still give nearly 50 concerts a year. "Performing this stuff with Joan had an enormous influence on my music," Bolcom...
...Unknown Kurt Weill (Nonesuch, 1981). Acerbic rarities from the composer of The Threepenny Opera, sung by opera's sexiest soprano, Teresa Stratas...
...whose broadcasts will come from the Majestic Theater in Brooklyn, a spectacularly decayed old burlesque house belonging to the Brooklyn Academy of Music. The first broadcast detonated with a finger-snapping zum-bum-ooo-ooo singing group called True Image, headed uptown with show tunes swung elegantly by soprano Eileen Farrell, the diva who stops being 70 when she opens her mouth, then went gloriously low-down with Jelly Roll Morton tunes by pianist Butch Thompson, the fine St. Paul barrelhouser from the P.H.C. days. Flying babies filled...