Word: sweetest
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Dates: during 1950-1959
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Last week, as crowds outside the Lugazi police station chanted, "We want to see the cannibals," the widow and her three accomplices were in jail pending inquiry into a murder charge. Said one of the defendants matter-of-factly: "It was the sweetest meat I ever tasted...
...newer, "bigger and better" than ever. Visually tricked out with color, old-fashioned microphones and vignettes of young love (a car radio in a moonlit convertible of the '30s), Swing swung down the nostalgic side of the street. Besides tootling what is still the sweetest clarinet this side of the '30s, Maestro Goodman husked It's Gotta Be This or That, was spelled by such other oldtimers as Trumpeter Harry James in King Porter Stomp, Singers Ella Fitzgerald, Jo Stafford and Ray Eberle. But it was not until Benny meshed with his old quintet (including Teddy Wilson...
Schoenberg's music, at times hideously difficult, underscores the contrast: it is at its sweetest and most melodic in Act II when the people of Israel prostrate themselves before the Calf, at its harshest when Moses struggles with his hard faith. In the arguments of Moses and Aron, the brasses snarl, the chiseled strings shriek in a web of complicated polyphony. The score is made more difficult by Schoenberg's technique of interlocking choral and solo parts in an almost unintelligible cacophony. The Columbia recording (conducted by Germany's Hans Rosbaud) demonstrates that Composer Schoenberg may have...
Jacqueline Brookes is fine as Desdemona, "the sweetest innocent that e'er did lift up eye." Her handling of the moments when she is slapped and bewhored by Othello is deeply affecting, and her dying words most touching. Olive Deering does well as the loose Bianca. But Sada Thompson's Emilia is too Desdemona-like; she ought to be sharply contrasted with her mistress--less refined, more common and blunt, at times even vulgar. I suspect the result would have been better if the Misses Thompson and Deering had exchanged roles...
...Sword & a Caress. Few rate the Callas voice as opera's sweetest or most beautiful. It has its ravishing moments. In quiet passages, it warms and caresses the air. In ensembles, it cuts through the other voices like a Damascus blade, clean and strong. But after the first hour of a performance, it tends to become strident, and late in a hard evening, begins to take on a reverberating quality, as if her mouth were full of saliva. But the special quality of the Callas voice is not tone. It is the extraordinary ability to carry...