Word: vividly
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Soprano Tebaldi's forte is her pianissimo. Daughter of a Pesaro cellist, she finished off her studies in Parma with famed Soprano Carmen Melis, who took her in hand and taught her how to float those vivid tones. She made her big-time debut the night La Scala reopened after the war, singing in a concert under Arturo Toscanini. Her specialty is igth century Italian pulse-bumpers, but Renata is a placid, hard-working woman who says she does not really like to sing passionate heroines. How will her Aida sound next week at the Met? Not too passionate...
...Archetypes for All. Things are not so simple in the Jungian unconscious. There, Jung sees a host of symbols which represent the archetypes. In writing of them, Jung, who has a vivid style and imagination, sometimes sounds almost as if he were writing about living beings. But the Jung archetypes are simply ancient patterns of human experience and feeling, repeated over and over in all ages and cultures. They occur in two principal forms: 1) in individual thoughts, dreams and visions; 2) projected as myths, customs or faiths...
Actor Burton, the young British player who made his first big U.S. success in The Robe, does his best, which is never less than vivid, to sustain the early tone; and Moss Hart's script lends him a hand. Drama strides the scene: Is the son as mad as the father? Love (Maggie McNamara) walks in, to soothe his fevered brow. And just when the action has settled down to a nice homey drone of hysteria, almost as dull as Saturday night in Bedlam-bang! Brother John (John Derek) puts a bullet into Abraham Lincoln, and the public takes...
...because, apart from textual clarity, only such treatment of the words can shape ensemble singing into a live and exciting sound. Closely related is his distinction between "covered" tone for soft passages and "open" tone for loud. Radcliffe's precise production of each type keeps the quieter music always vivid and makes for unusually brilliant climaxes. Above all, the Choral Society aims to entertain its audience; if their zeal occasionally sacrifices subtlety or stylistic nuance, it is worth the loss--this became particularly apparent in Britten's carol There Is No Rose...
...musically well in the black. Forty-six new works have been introduced and several have already been performed elsewhere. A few were standouts, e.g., Luigi Dallapiccola's haunting, emotional Variations for Orchestra, Henry Cowell's gentle Symphony No. 11, Carlos Surinach's vivid Sinfonietta Flamenca. The overall quality was higher than critics dared hope...