Word: tenore
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Dates: during 1980-1989
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...that literary psychology diminishes its subject. The fact remains that Edel is incapable of being reductive, even when he tries. Stuff of Sleep and Dreams is continuously energetic and expansive. Its variety includes anecdotes, information and even Edel's eyewitness account of James Joyce leading a claque for Tenor John Sullivan at the Paris Opéra in 1929. One is simply carried along despite the assertions of theory. The methodology in the literary madness still leaves plenty to the imagination. -By R.Z. Sheppard
...college. Yet, as Charley proudly observes, the Prizzi family "runs this country just the same as the Senate does or General Motors or Alexander Haig, junior." The Mob is funnier. When the Prizzis give a testimonial banquet for one of their number, they hire the world's greatest tenor to sing one song: the number is an aria from Verdi's Les Vépres Siciliennes recounting the slaughter of the defenseless French by Sicilian patriots. The overcrowded hall is set afire by a rival gang, and 89 guests are parboiled. "Miraculously, the Congressmen and the judges came...
...resplendent blond beauty and sparkling stage presence. Hers is a voice that can both beguile with gentle lyricism and blaze with the incandescence of a high-spirited diva. Other noteworthy performances came from American Mezzo Brenda Boozer, who made a lively Meg Page, and Soprano Barbara Hendricks and Tenor Dalmacio Gonzalez, who sang touchingly as the young lovers. British Director Ronald Eyre kept the action crisp; he was correctly content to execute the composer's wishes, rather than impose a fashionably idiosyncratic view of his own. As Giulini put it before opening night, "In opera the composer does...
...recent Pennsylvania Opera Theater production of Orlando Paladino, a work that alternates buffa elements with more serious moments, showed the best reason for giving Haydn's operas a hearing: their scores. To the lovesick knight Orlando (Tenor John Gilmore), crazed by a passion for Angelica, the Queen of Cathay, Haydn gave a stirring entrance that suggests the depths of the mad paladin's emotion. On Angelica (Soprano Randi Marrazzo), he lavished arias in each act that shimmer with dazzling coloratura and touching pathos. And for the finale, he composed a high-spirited, catchy septet that reconciles the conflicting...
Richard Slade's Piquillo combines with La Perichole to make a purposely awkward but rather endearing pair. They are quite comical as they fail to impress the local townfolk with their singing and dancing. Slade's soft tenor blends nicely with Hellmold's soprano, although the occasionally overpowers him. Hellmold's more natural stage presence also steels situation from Slade; she moves slowly but gracefully, suiting her steps and value to each song. After becoming "tipsy," for instance, she hiccups and belches her way through a number, teetering back and forth on the stage. And Hellmold's voice, even...