Word: vocalization
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Dates: during 1960-1969
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Victoria de los Angeles and Dietrich Fischer-Dieskau in Duets (Gerald Moore, pianist; Angel). Purcell, Bach, Beethoven, Berlioz and Tchaikovsky are among the composers visited in this beautiful introduction to a part of the vocal repertory now rarely heard in the concert hall...
...days, it shines with bel canto flourishes-fluid melodies, runs, cadenzas, arpeggios-and a soprano role that is one of the most difficult in all opera. "Semiramide," says La Scala's artistic director. "is Norma's grandmother." Much of the dramatic singing is in the most difficult vocal range, and the coloratura passages are burdened with drama. With the coloratura parts too dramatic and the dramatic parts too coloratura, it is simply too difficult; Paris saw it last in 1874, La Scala in 1881, New York...
...nine vocal soloists filled their parts with all the life they could hold, and these soloists accounted for what success there was to the evening. (Unfortunately, the English translation by George Barker lay very poorly with the vocal line, in spite of numerous small amendments; the accents on "simplicity," for example, fell so that the word sounded like "simple city.") Eve (Mary Judd) was not in the least forced even in high passages, and performed the best lyrics of the work. The devils, sung by Howard Fried, David Griffith (an undergraduate in the College), William Shores, and John Fiorito, made...
...harmonic instrument. Debussy's only opera, Pelléas et Mélisande, surprised its audience at its 1902 premiere with its lack of crowd-catching arias or easily hummable melodies. But later audiences began to understand that Debussy was attempting something new in opera; by reducing the vocal parts to declamation-close to spoken language-he was trying to elevate the orchestra to a position of new importance, where it would become the main commentator on the action. His opera's moonstruck tale of love and fratricide, which returned to the Metropolitan last week after an absence...
...Schubert and Schumann lie.ler. Schumann's Mondnacht, for example, was "crooned" rather than sung, and in general one missed just that quality which Mme. Crespin's recent teacher, Lotte Lehmann, would have brought to the songs, a sense that one was hearing a singing actress rather than a merely vocal phenomenon of the order of the Colossus of Rhodes...