Word: sopranos
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Dates: during 1960-1969
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...superimposed in any fashion--and where in this instance the combination resulted in twenty minutes of nonsense. Yet a recording exists in which that is not true: the record's particular overlapping of the tapes gives the noises a consistent texture and rhythm and its addition of Cage's soprano Aria above them puts the sound to a real artistic purpose, making their strange noises and enigmatic direction seem perfectly chosen for the piece. As in the Schoenberg Trio, unusual sonorities appear out of nowhere, yet seem very much in place...
Only a few miles from the row over integration at the University of Mississippi, home fires burned brightly for Negro Soprano Leontyne Price, 35. Returning to her native city of Laurel (pop. 27,889) after a third triumphant season with the Metropolitan Opera, she drew a standing ovation from an informally integrated audience of 2,000 whites and Negroes at a benefit concert for St. Paul's Methodist Church. Glowed Leontyne: "This is the only place where I can be at peace with myself, except Rome. New York was meant for work. Here at home...
...celebrate its 2,000th anniversary, Hindemith's new cantata is scored for three vocal soloists, a chorus and orchestra, and is based on the Fastnacht, or pre-Lenten festival, for which Mainz is famous. The text, partly by Hindemith and partly by Playwright Carl Zuckmayer, has the soprano and tenor soloists singing only in Mainzer dialect while the baritone sings in high German. Soprano and tenor are supposed to be watching an imaginary Fastnacht procession passing before them as they face the audience, and in the roles of low comics exchange opinions with the baritone about the history...
...loyal fans of Soprano Renata Tebaldi had a hard time in recent years detecting the girlish silhouette of Mimi, say, or Leonora beneath their favorite's puffed-up form. Unlike her archrival Callas. who had the theatrical canniness to diet to a sleek whisper of her former self, Tebaldi apparently felt that it was sufficient for a soprano simply to trundle on stage and sing...
...trick for a soprano in Adriana is to seize the stage before the tenor has a chance to plant himself with arms thrown wide to uncoil one of the soaring rhapsodies that billow through the length of the opera. The trick is particularly tough when the tenor is as talented a scene stealer as Franco Corelli, but Tebaldi handled the job nicely. When she came on in Act I in an ivory gown and red hair, she looked so startlingly unlike the matronly Tebaldi of other years that even her devoted claque paused in surprise for the space...