Word: sopranos
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Dates: during 1960-1969
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...SINGERS. Joan Sutherland, Birgit Nilsson and Leontyne Price had only twelve listings among them three years ago; now they have 53, one less than Renata Tebaldi has all to herself. Tebaldi is still the most recorded soprano, but Elisabeth Schwarzkopf is gaining fast and will soon pass her. Maria Callas, who has not done much singing from opera house stages in the past three years, has had eight new recordings issued anyway. Rudolf Schock made the biggest gain among tenors (14 to 38), but it must give him an edgy feeling to see that Enrico Caruso, silent these many years...
...particular specialty has been the theater of the absurd, and absurdity-:the existentialist-born notion that only the moment matters and the moment is meaningless -reaches great heights in Ulm, so great in fact that writers like Beckett, Jean Genet (The Blacks) and Eugene lonesco (The Bald Soprano) are actually regarded as "old fuddy-duddies" by some residents. Beckett's new Play, in their view, has a plot and is therefore blighted...
Lotte Lenya owned Kurt Weill's music long before she became his widow. Her ravished soprano perfectly matched the temper of his Berlin theater songs-tough, bragging, wicked, hopeless-and no one could have done more with Bertolt Brecht's lyrics than a singer whose voice combines the chilling qualities of sober screams and drunken laughter. Even now-years past the peak of her career-Lenya's artistic claim frightens other singers off her turf...
Dead Laughter. Soprano Schlamme was born in Vienna, but the Nazis chased her Orthodox Jewish family to England in 1938, and she spent two years interned in a British camp on the Isle of Man. She had an international repertoire of folk songs by the time she left England, but when she came to the U.S. in 1948, she rarely escaped the Borsch Belt and Hadassah-club audiences that wanted a strictly Kosher diet of Hebrew and Yiddish songs. Since then, she has made four albums of international folk songs, but record stores are still likely to keep...
Barber: Knoxville, Summer of 1915 (Eleanor Steber; Columbia) is a rondo for voice and orchestra, with Soprano Steber singing James Agee's affecting text, which Barber has set to music. On the other side (and, unfortunately, better recorded) is Berlioz' Les Nuits d'Eté, also sung by Steber...