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...finally made it to the Met, and her debut was one of the rare victories of art over advertising. It was also among the season's most difficult. Without the comfort of a single stage rehearsal in one of opera's most treacherous roles, she sang La Traviata's Violetta only three weeks after Joan Sutherland's Met debut in the same role. With La Stupenda's triumph still fresh in mind, the critics expected only a nice try from La Costa. But after a faint and breathless first act, she became the very spirit...

Author: /time Magazine | Title: Sopranos: That's Right, Honey | 1/17/1964 | See Source »

...village above Palermo. Descending from dusty carriages, Don Fabrizio is greeted by a host of punctuous officials and the jaunty blaring of a brass band. With deliberate steps, he walks the gauntlet of gaping, impoverished eyes to enter the cathedral where the organ is playing an aria from "La Traviata." As the last notes hang amid marble frescoes high above, the band is still heard outside in the blazing courtyard. And while the villagers push and shove for a view, the Prince and his family sit in special pews near the altar, their faces ashen frm the dust, their heads...

Author: By Ben W. Heineman jr., | Title: The Leopard | 11/1/1963 | See Source »

...song is "communication heightened and intensified," and he demands that singers produce it as if they were inventing both words and melody in dramatic conversation. His production of The Magic Flute is the current classic, and no opera house can respectably ignore the standard that Felsenstein set with his Traviata, Bartered Bride, Otello and Tales of Hoffmann...

Author: /time Magazine | Title: Opera: Midas Across the Wall | 10/18/1963 | See Source »

During the evenings at Gian Carlo Menotti's Spoleto Festival of Two Worlds, the goings-on were grand. Festive Roman audiences wildly applauded Luchino Visconti's lavish production of La Traviata. The Messiah was sung on the moonlit Piazza del Duomo that it might satisfy all the senses. When the festival's sixth season neared its close, Founder Menotti looked ahead anxiously. "Everyone," he sighed last week, "expects exceptional productions. It's really tough figuring out how I will keep it up during the next ten years...

Author: /time Magazine | Title: Music: In the Chamber at Spoleto | 7/19/1963 | See Source »

...full-dress evening productions began to treat the chamber-music series as a sort of classical jam session. Thomas Schippers, who conducted the Spoleto Messiah, stopped by to play piano duets with a series regular, John Browning. Last week Browning backed up U.S. Conductor Robert La Marchina (Traviata), who was up early for the sake of a tuneful Rachmaninoff piano-cello sonata. What's more, the musicians' enthusiasm for the series seems to be shared by an Italian concert public long uninterested in chamber music. "One of the most original and happily realized formulas of the festival," glowed...

Author: /time Magazine | Title: Music: In the Chamber at Spoleto | 7/19/1963 | See Source »

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