Word: vocalization
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Dates: during 1960-1969
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...Clarion Concerts, which for two years have made a distinguished name by searching out musical curiosa, in a Town Hall concert featured Alessandro Scarlatti's rarely performed oratorio, II Martirio di Sant' Orsola. An unpretentious work, it had little true dramatic tension but was supported by a vocal latticework of wonderful warmth, tenderness and transparency. Elsewhere on the program. Conductor Jenkins exhumed a wonderfully flourishing Trumpet Suite by 17th century English Composer Jeremiah Clarke, and played Mexican Composer Carlos Chavez' Symphony No. 5, a propulsively rhythmic work for strings that ran hard and relentlessly but with...
...English, and the Devil knows Latin." Despite the seemingly arrogant assurance of some of his publicized dicta (e.g., "All the identity discs in Heaven are marked R.C."), Knox went through ordeals of parched spirituality, notably in respect to prayer. He once wrote: "In the great bulk of my prayers, vocal and mental, all my life, I have not felt I was talking to God in his presence, but rather apostrophizing him in his absence...
Soprano Galina Vishnevskaya, 33, pretty brunette star of the Bolshoi Opera, who sang selections from two Tchaikovsky operas, Eugen One gin and Queen of Spades. She revealed a voice of impressive range and size, smooth as silk in its vocal tracery, superbly responsive to every dramatic mood. Handsomely sheathed in a low-cut hourglass gown, but wearing no makeup ("Lipstick is unbecoming to me''), Soprano Vishnevskaya showed clearly why she is a Russian favorite. Her high spirits may stem from the fact that she started not in grand opera but in musical comedy. She sang at the Leningrad...
...lacks a competent Tristan. Because the opera requires a Tristan who is in every way equal to her, especially when the Irish bride is so commandingly portrayed, the Met's production does not satisfy entirely. Though Ramon Vinay and Karl Liebl are seasoned, intelligent performers, neither has the considerable vocal resources or discipline requisite for the taxing part. When Melchior left the Metropolitan's stage in 1949, there was no Heldentenor to replace him. By that time, Set Svanhom, his beautiful voice always a bit too lyric for the heaviest Wagnerian tenor roles such as Tristan and Parsifal, was also...
...Malcolm Sargent produces a package (Elsie Morison, Marjorie Thomas, Richard Lewis, James Milligan; the Huddersfield Choral Society; the Royal Liverpool Philharmonic Orchestra; Angel, 3 LPs, mono and stereo) that lacks the fire of Beecham, the vocal glories of some of the Ormandy passages, emerges as painstaking rather than impassioned. Perhaps the best performance of the crop is furnished by Hermann Scherchen (Pierrette Alarie, Nan Merriman, Leopold Simoneau, Richard Standen; the Vienna State Opera Orchestra and the Vienna Academy Chorus; Westminster, 4 LPs, stereo), which is marked by some lovely, light-textured choral passages, a translucent orchestral sound and a movingly...