Word: sopranos
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Despite the promise of her voice, there were those at Milan's La Scala in 1956 who wondered if Madame Butterfly should be 5 ft. 10 in. in her zori. But American Soprano Anna Moffo went on to make a dazzling operatic debut, and since then Cio-Cio-San has been one of her favorite parts. Last week Anna had a chance to restudy the role in Butterfly's homeland. On her first visit to Japan, she wasted no time becoming acclimatized. To the delight of the tourists, she tripped through Tokyo's Chinzanso Gardens...
...waves--make him an ideal antihero: he'd stand out even more if the rest of the cast, right down to the chorus, weren't so fine. Joshua J. Zimmerberg wheezes through his old retainer's role in high style. Kerry McCarthy is as good, as Rose Maybud, the soprano. And Douglas H. Hunt, as Fuller's foster-brother, trying to avoid his Ruddigorish fate without needing to die early, is just remarkable--perfectly solemn and apparently joyfully in on the joke at the same time. The whole production is like that--and it's certainly a joke worth being...
...Chuck Mangione's "Klee Impressions," Everett brought on three additional flutes plus an in-vogue soprano saxophone performance by the versatile Sacks. The mellifluous soloist offset some sluggish French horn work, and left a sweet taste in the listeners' mouths during intermission...
Since an established country-music career is about as durable as a concert pianist's, Tanya should be around a long time. She does not have a typically sweet, country soprano. In fact, her flinty alto carries a disconcerting and quite false suggestion of whisky, smoke and sex. Already, Would You Lay With Me and Satin Sheets are in her repertory, and anyone listening to them on records might well picture a roadhouse chanteuse instead of an open-faced, honey-haired teen...
...addition to these actors, four soloists sing numerous arias and ariosos which reflect upon the drama. These singers were the source of whatever weakness existed in the performance. The accurate but weak soprano of Susan Larson failed to fill the hall. Alto Pamela Gore often shrouded pitch and rhythm with an excessive vibrato. Tenor Ivan Oak had inexcusable difficulty in following the conductor which, together with an inability to pronounce the German text, resulted in a disappointing performance. David Evitts, however, displaying a full-toned but agile bass, gave the sensation of an effortless flow of notes...