Word: traviatas
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Dates: during 1960-1969
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...language Boris Godunov. But the Met's first week will probably open with Aïda and Leontyne Price, and there are plans for brand-new productions by Franco Zeffirelli of Cavalleria Rusticana and Pagliacci, along with Renata Tebaldi's Tosca and a so-far-uncast La Traviata. Thereafter, apparently, except for Joan Sutherland and Marilyn Home in a new Norma, the 16 offerings will be familiar...
...much a triumph of brain as of voice. "When word gets around that you can read something other than a C-major scale," he says, "people seem to pigeonhole you. I enjoy it, though. I'd go out of my mind if I sang nothing but Tosca and Traviata." Reardon pragmatically divides compositions into only two categories: music and nonmusic. "Some things I won't do," he says. "I once heard Martina Arroyo do a work called Momente by a composer I have forgotten.* She was called upon to make all kinds of sounds, including bird chirps...
...Opera grew into one of the most interesting companies in America. It never had chic like Salzburg or Bay-reuth-but then, the European festivals do not offer beer, hot dogs and wild animals to patrons bored with La Traviata and Rigoletto. Besides, where else could one hear Gladys Swarthout and Rise Stevens break in their Carmens, see Jeanette MacDonald in Faust, catch James Melton in his first Madama Butterfly, or stroll into a Rigoletto and hear Jan Peerce and Robert Weede making their professional debuts...
...responsible for the transformation is Stage Director Frank Corsaro, 43, who believes that operatic tradition is often nothing more than a catalogue of yesterday's clichés. As he showed with his productions of La Traviata and Madama Butterfly, Corsaro is a determined spoiler when he confronts the creaking plots of traditional opera. If he wants to bring on familiar characters at unexpected moments, he does so. If he decides to invent minor characters, he does that...
...Only Lasted One Day in Frankfurt, and explains that because she found it a gloomy, unfriendly place, she returned to New York without having stepped foot on the Frankfurt stage. The audition now begins. Beverly walks to the front of the stage and sings Sempre Libera from La Traviata. Applause is heard from the pit, and it is obvious that she has finally captivated the City Opera...