Word: sopranos
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Dates: during 1960-1969
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Lotte Lehmann, prima donna, Vienna State Opera, renowned soprano. . . D.F.A...
Though Henze's melodies were somewhat diffuse, critics were impressed with the lavish production put on by the Bavarian State Opera which featured Baritone Dietrich Fischer-Dieskau, Soprano Ingeborg Bremert, and they were unanimous in their praise. Said the authoritative Frankfurter Allgemeine Zeitung: "Henze has arrived at the point of decision. All the lessons which he learned from Verdi, Berg, Schoenberg, Stravinsky, Britten and Weill have been absorbed in his tremendously creative feeling for sounds and his sense of the dramatic." This mixture of old and new, of atonality and traditional harmony, was precisely what Henze was after...
Poulenc: Gloria in G Major for Soprano, Chorus & Orchestra (Rosanna Carteri; the French National Radio-Television Orchestra, conducted by Georges Prêtre, with chorus conducted by Yvonne Gouverné; Angel). Poulenc's 'joyous hymn to God," commissioned last winter by the Koussevitzky Foundation is recorded for the first time. It is a remarkable work fashioned with greater simplicity than some of Poulenc's more brittle pieces, in turn reverent, mischievous and exultant...
Rossini: The Barber of Seville (Gianna d'Angelo, Renato Capecchi, Carlo Cava, Nicola Monti, Giorgio Tadeo; the Bavarian Radio Symphony Orchestra, conducted by Bruno Bartoletti; Deutsche Grammophon, 3 LPs). As an effervescent Rosina, Soprano d'Angelo confirms the promise of her recent Metropolitan opera debut, but the honors here belong to Baritone Capecchi, whose Figaro is vibrant-voiced, flamboyant and believable...
...other works: Integrates, Ecuatorial, Offrandes, Deserts, Nocturnal. The first three were mostly intricate rhythmic exercises for conventional instruments (plus a leather cushion that was whomped with paddles), while Deserts mixed orchestral sounds with clangorous thunderclaps from the speakers. Nocturnal was the one new work on the program. Scored for soprano, men's chorus and assorted instruments, it was based on a prose poem by Anaï's Nin. None of Nocturnal was taped, but its sounds-chittering strings, night-wailing flutes-were far out enough to fire up any Varèse fan. Its chanted, fragmented lyrics were...