Word: vocalism
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Dates: during 1980-1989
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...flood of attention is over, most wounds have healed, and the institute has reverted to its customary low profile with apparent relief. "Basically," says an HIID fellow who was vocal in his opposition to Harberger, "last spring we had a lot of trouble, and this spring we've all gone back to work...
Meaning business meant dealing fairly and sometimes toughly with the principals, the stars whose magnetism sells tickets. Few, if any, expected Baryshnikov to be appointed, and they were vocal in their misgivings about the leadership of a young Russian superstar. But they all stayed on: Natalia Makarova, Cynthia Gregory, Marline van Hamel, Marianna Tcherkassky, Fernando Bujones, Anthony Dowell. To them Misha's great gift is secure performance schedules, which have replaced last-minute fly-ins and broken promises of big evenings...
These musical failures were doubly unfortunate because this troupe of singers contains some very fine voices. Of particular note were Daniel Pantano's Papageno, a chubby, winning baritone with plenty of playfulness: Barbara Morash's Queen of the Night, who traversed her role's Alpine vocal peaks of near-yodelling with good control and plenty of voice to spare: and the Three Ladies of Anne Johnson, Penelope Bitzas, and Deborah Harrington, a trio of ethereally beautiful voices. Everyone in the cast was at least vocally adequate for this small-scale production, and it was a shame to watch them...
...another House production of an opera comes and goes, with flashes of visual and vocal interest but doomed by its own musical limitations. It leaves me wondering what it is that leads talented students year after year to assay the hopeless task of performing major operas in dining halls with hastily convoked orchestras, and I suppose the answer lies in the greatness of the works themselves. But next time perhaps a different approach to undergraduate opera is in order. Some enterprising director ought to yoke together several of the valuable resources available here to amateurs, like the Loeb mainstage...
Glenda Jackson is a buzz saw of an actress and Rose is a toothpick of a play. This sense of imbalance sets the tone of the evening. Jackson possesses a feral magnetism; the play is nerveless, somnolent, inert. She is direct; the play is diffuse. In vocal inflection and delivery, she is a wicked font of wit and irony; the play is parched for either...