Word: sopranos
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Dates: during 1960-1969
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...renewing acquaintance with a puppet regime that strikes her as a million laughs. The occasion was opening night of Sergei Obratsov's Russian Puppet Theater, a miniature spectacular that had the critics banning real live actors to some theatrical Siberia. Among the characters applauded was one splintery soprano, and Margaret loved that too. "A marvelous show," she trilled. "I first saw them in Moscow...
...varying political winds since World War II. With only slight hesitation, they shift course and run before Nazism, fear of Nazism, total pacification, and anti-communist militancy. Serving as a foil to the townspeople is Alois Grubel, a one-time syndicalist, who has been made simple, sterile, and soprano during his stay in a concentration camp. There are two Aloises, one wishing only to breed rabbits and sing in the town choir, thus frustrating and embittering his wife who longs for children, and the other an overly indoctrinated and obtuse handyman who embarrasses and deflates his neighbors as they delicately...
...audience greeted Soprano Maria Battinelli's quavering first-act cadenzas with unrestrained boos and whistles that served to unnerve both singers and musicians. The singers soon lost their pitch, and the boys in the orchestra joined them in helpless cacophony as the audience went wild in fury. Only the night sticks of the carabinieri induced peace after the melee, and everyone went home agreeing that it was a lousy evening-but viva Verdi, anyway...
...about as Spanish as wiener schnitzel, but romantic nonetheless. Published posthumously, the five solos, two duets and final quartet of Schumann's second Spanish-cycle are recorded for the first time. The two-piano team of Arthur Gold and Robert Fizdale share high honors with the singers, notably Soprano Lois Marshall and Tenor Leopold Simoneau. On the other side of the record are Brahms's Liebeslieder Waltzes, which are also written for four hands and four voices...
...soloists, who were often embarrassing, presented another set of problems. Counter tenor Donald Parsons was the worst detractor, and bass Donald Langmuir, though not prone to missing notes like Parsons, lacked power and richness. Greer McLane, the mezzo soprano, was the best of the trio, if rather uninspired...