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Fauré: Requiem and Pavane (Elly Ameling, soprano; Bernard Kruysen, baritone; Daniel Chorzempa. organ; The Netherlands Radio Chorus; Rotterdam Philharmonic Orchestra, Jean Fournet, conductor; Philips; $7.98). Orchestra and chorus are fully integrated in a crystalline performance of this seven-part choral work by a romantic Frenchman who admired classic Greek proportion. The purity of Ameling's soprano makes the prayer Pie Jesu an expression of faith as well as of grief. The recorded sound suggests a church rather than a studio, which is particularly effective in the solemn Pavane...

Author: /time Magazine | Title: Music: Classical Records | 4/12/1976 | See Source »

Performers at the Tabernacle may not have to be totally devout, but behavior must be impeccable. Soprano Roberta Peters inadvertently caused a scandal once when she was served a cup of tea onstage during rehearsal; tea and coffee are forbidden the Mormons. So are alcoholic beverages. Pianist Jose Iturbi narrowly avoided greater disaster when a bottle of Scotch broke on the floor of his Tabernacle dressing room. A kindly janitor cleaned it up, and kept his mouth shut...

Author: /time Magazine | Title: Music: Saints and Sinners | 3/15/1976 | See Source »

Chamber Music and Dancing featuring Shann Jacobsen, piano; Wendy Holdaway, bassoon; Kathleen Watt, soprano. Pieces by Vivaldi, Mozart and Barber to be followed by waltz and other dances. Kirkland...

Author: By Judy Kogan, | Title: Music | 3/11/1976 | See Source »

...Bilby's Doll as his company's bow to the Bicentennial celebration. He has presented it well. Ming Cho Lee's skeletal sets have just the right blend of reality and make-believe. As Doll, Catherine Malfitano, 27, acts intelligently and sings with a clear lyric soprano; she is obviously going places. The rest of the cast is almost as good, notably Mezzo Joy Davidson (Hannah), Bass Thomas Paul (Bilby) and Tenor Jack Trussel (Shad...

Author: /time Magazine | Title: Music: Houston's Doll | 3/8/1976 | See Source »

...makes a fitting backdrop for the evening's vocal triumph. In the current vogue for bel canto opera, I Puritani appears increasingly in the repertory of major companies. Often the production is not much more than a vehicle for a soprano. But the Met also offers a stirring male trio: Pavarotti, Milnes and James Morris, 29, whom the company has brought along carefully. Though Mimes' baritone is too dramatic for a legato line, his declamations are thrilling. Pavarotti, a money tenor in the way that Tom Seaver is a money pitcher, revels in his recklessly high flourishes. Sutherland...

Author: /time Magazine | Title: Music: I Serenissimi | 3/8/1976 | See Source »

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