Word: struss
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Dates: during 1960-1969
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...soloists were as gratifying as Sorensen. Regulars Marsha Vleck and Jane Struss gave creditable enough performances but had relatively little to do. Struss's solo work in "Gottes Zeit ist die allerbeste Zeit" (BWV 106) had an uneasy, unsettled quality, probably the result of a case of nerves. Bass Francis Hester revealed a rich and well-trained voice, but his murky German detracted from his performance...
...opening chorus of Bleib bei uns (BWV 6) featured a large number of choral trills. Although they demonstrated the chorus's virtuosity, the emphasis placed upon them distorted rather than heightened the expression of Bach's musical ideas. In the remainder of the cantata, Jane Struss' alto aria was lucid and delicate, if not overpowering, and Sorensen gracefully navigated the difficult tenor aria...
...elimination of these solos was all the more puzzling because the soloists did begin to sing in "Ich bin ein guter Hirt." Marsha Vleck, soprano; Jane Struss, contralto; Karl Dan Sorensen, tenor, and Francis Hester, bass, all sang clearly and sensitively, and, like the chorus, without any heaviness or pretension. Sorensen was especially fine, floating without apparent effort over long lines almost continuously in his highest register. Hester was stronger in "Ihr Menschen" than in "Ich bin ein guter Hirt," in which there were moments when he was almost covered by the orchestra. Penelope Ann Colwell and Cynthia Weinrich...