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John Harger Stewart, as Ferrando, has a fine bel canto tenor, which he uses to good effect. Greg Sandow, his wacky sidekicks Guglielmo, holds his own with the baritone part and caught the audience off guard with his frequent wry sallies. Thomas Weber, as Don Alfonso, was even better, in a difficult part which required him to sing while snickering at the plot all evening. Patricia Stedry, as Despina, a little out of her range perhaps, nevertheless made an excellent co-conspirator with Don Alfonso in their sotto voce duets...

Author: By Paul Williams, | Title: Cosi Fan Tutte | 12/3/1964 | See Source »

...soaking up vast quantities of experience together," said one of the male leads, tenor John Stewart, who also qualifies as a professional. John was graduated in 1962 from Yale, where they never attempted grand opera, and is now a graduate student at the Conservatory and a teaching assistant at Brown. Although he praised the production, he expressed some major reservations...

Author: By Nancy Moran, | Title: Mozart and Chow Mein: A Day at the Opera | 12/2/1964 | See Source »

...iron beds, ride motor scooters, lose their pants, leap off bridges, throw knives. But the procession of sight gags only emphasizes the drift of the dialogue, supporting and not replacing the language of the playwright. As he approaches character from several directions, Nichols apparently feels particularly comfortable in a tenor of intelligent slapstick...

Author: /time Magazine | Title: Broadway: The Nichols Touch | 11/27/1964 | See Source »

...concert length and worth. Bassist-Pianist Mingus' debt to Ellington is most apparent in Invisible Lady where both mood and the stylish trombone solo of Jimmie Knepper are evocative of the Duke at his best. Peggy's Blue Skylight features Mingus on piano and a haunting tenor sax solo by Booker Ervin...

Author: /time Magazine | Title: Television: Oct. 23, 1964 | 10/23/1964 | See Source »

Commuters at Rush Hour. With strong backing from Baritone Robert Merrill, beginning his 20th season with the Met in fine vocal fettle, and Tenor Sandor Konya, the flame-haired coloratura's performance was a masterpiece of bel canto. In the climactic Mad Scene, in which she sings a duologue with a fluttering solo flute, her glittering coloratura runs, leaps and trills won a standing ovation and 14 curtain calls...

Author: /time Magazine | Title: Opera: Behind the Nervous Curtain | 10/23/1964 | See Source »

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