Word: tenore
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...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...
...mindful of Stratas' electric stage presence and lithe figure, chose her for his filmed version of Richard Strauss's decadently erotic opera Salome. And her capacity, both vocally and dramatically, to range from angelic purity to raw urgency made her a superb choice to sing Mimi opposite Tenor José Carreras' Rodolfo in Franco Zeffirelli's spectacularly realistic new production of La Bohème at the Met-perhaps the most lavish setting ever created for Puccini's tale. (The production, which PBS is televising nationally this Wednesday on Live from the Met, surpasses...
Last week the only "money" note for the tenor in Aida-the high B-flat at the end of Celeste Aida-was rough and ragged, belted out with a desperate fortissimo instead of the more difficult pianissimo that Verdi called for in the score. Elsewhere, Pavarotti's eyes clung to the safety of the prompter's box and the conductor's baton, leaving most of the acting to Soprano Margaret Price (battling a bronchial infection but singing well nonetheless) and Stefania Toczyska, a sultry Polish mezzo and a star of the future, whose Amneris blazed with passionate...