Word: traviatas
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Dates: during 1970-1979
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...first, in 1939). The program, co-sponsored by Ms magazine, will be entirely devoted to the works of women composers (see box page 59). In January she will become the first woman ever to conduct at New York's Metropolitan Opera, leading Verdi's La Traviata, starring Beverly Sills. In addition to all this, she is conducting the Pittsburgh, Detroit, New Orleans and San Antonio symphonies this season...
Audiences jaded by the cliches of opera-as-usual have been delighted by Caldwell's frequent and highly plausible new looks at old friends. Violetta in Traviata emerges not as the usual high-class tart with a heart of gold, but as an older woman resigned to her fate. The Druid priestess Norma? An albino, whose white hair and skin made her people think she was possessed and therefore a powerful leader...
...manuscript because so much in opera happened before the age of photography, when music copying began to be a more exact science." That kind of reverence for the printed notes does not keep Caldwell from having a little fun now and then. In the party scene from her 1972 Traviata, the champagne corks were popped in time to the music. Her 1973 Daughter of the Regiment found Sills onstage slicing potatoes on the beat as she made chicken Marengo. That left the howling audience unprepared for the delivery of the next ingredient-the brandy-by a St. Bernard...
JUDITH SOMOGI, 34, conducted a performance of Gilbert & Sullivan's The Mikado in March 1974 and became the first woman on the podium of the New York City Opera. Then she warmed up her baton on a dramatically authoritative La Traviata and a breezy production of Donizetti's The Daughter of the Regiment. Somogi joined City Opera as a coach and rehearsal pianist in 1966. Do orchestras react differently when the maestro is a woman? "When I wore my low-cut dress, there was some notice," admits Somogi. "Well, Zubin Mehta is a very good-looking...
...price was too high to hear the Meto, as the Japanese call the visitors. The ticket holders sat still and intent during the opera. Not a late straggler nor a cough marred the concentration. The company had just finished its annual spring tour of the U.S., which featured Traviata, and so the production was in crisp form. Conductor Richard Bonynge slowed up now and then for the singers' benefit, but the orchestra, playing with precision and rich texture, expressed most of the considerable drama in Verdi's score...