Word: vocalism
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Dates: during 1960-1969
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...Summer School Chorus, well prepared by Professor Harold C. Schmidt. The concertmistress solo fiddling wandered off pitch a bit, and the orchestra in general never got as soft as it should have until the final cadence; but there were delectable sounds all the same, and of the five vocal soloists Vicki Hall's soprano was simply ravishing...
...half dozen roles--including major ones--during previous seasons of the Festival, she never turned in anything but a praise-worthy job. Miss Nye is young and beautiful--and Lady Macbeth may properly be the same. But Miss Nye is just not Lady Macbeth. For one thing, her vocal tempo is absurdly slow. She is constantly given to internal pauses, often between every two words of a sentence. As a result we hear each sound she makes (though "Out, damned spot!" requires four syllables, not three), but the sounds seldom add up to convincing discourse. She indulges in elocution rather...
...gain his breath, stand up, and gradually inject his words with increasing enthusiasm. Tom Aldredge's Macduff is properly honest and resolute. But when, before the climactic duel, he says, "I have no words;/My voice is in my sword," one wishes the statement were literally true, for his vocal delivery through-out the play is throaty and gargly...
...Magelone Romances by Brahms in one recital, 20 of Hugo Wolf's Mörike Lieder in another. Richter matched FischerDieskau's richly expressive voice in every curve of melody, every nuance of shading, every dramatic inflection, making the piano not so much an embellishment of the vocal line as a second voice that sang along with...
...characterizations, and cameo characterizations at that. The production is a series of marvelous still photographs freezing colorful characters in revealing attitudes. There can be some movement within scenes: a first-act police station swarms with people, voices and crimes in a little masterpiece of Everingham's physical and vocal choreography. Glaser and Kramer, and Glaser and Miss Walker can move toward climax and depth in the confines of a single scene. But little holds the scenes together, and when in the third act the play enters its third hour at the same time as the pace of the scenes goes...