Word: vocalization
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Dates: during 1960-1969
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...wrote his first opera (about a stuffed alligator in a storm) when he was six. The son of a textile merchant, he attended Juilliard, every Saturday afternoon trudged up to the balcony of the Metropolitan Opera to listen to how the professionals did it. Although he has been composing vocal works ever since his Curtis Institute days, Kastle attempted only one adult opera before Deseret-a one-acter titled The Swing, having to do with a bride's premarital jitters. He is now at work on another opera on an American theme, laid in the 1700s. Like his other...
...have had their voice boxes removed in surgery and have never mastered the difficult art of speaking with the gullet. Contoured to fit the hand and powered by tiny batteries, the artificial larynx is pressed against the flesh of the throat, transmits vibrations into the lower end of the vocal tract. These vibrations can be converted into voiced sounds of speech in a normal manner-by use of the tongue, teeth and lips. But because no flow of air is required, the user can speak with the electronic larynx while exhaling, inhaling or holding his breath. The gadget comes...
...role of Ruggiero, Mezzo Blanche Thebom flawlessly handled the difficult vocal and dramatic task of portraying a knight who, bewitched by a Circe-like enchantress, has forgotten his past but is gradually regaining his memory. British Mezzo Monica Sinclair, also making her U.S. debut, displayed a fierce, darkly colored voice, matched at every turn by the other principals-U.S. Soprano Joan Marie Moynagh, Italy's Luigi Alva and Nicola Zaccaria. The star of the evening, though, was Sutherland, and she amply lived up to the reputation that had preceded her (TIME, June 13). Her range was wide, secure...
...stage presence and dramatic insight, Sutherland is still no match for that oth er mistress of rare and early opera, Maria Callas. But not even Callas fans could deny last week that in sheer vocal technique, Sutherland had earned her Olympic gold medal...
...what plainly just keeps The Unsinkable Molly Brown afloat is an unquenchable Tammy Grimes. Starting off, in potato-sack finery, half tomboy and half troll, she roars and soars ahead with her magically rusty vocal cords, her magically uncombed look, her meltable rock-candy hardness, now executing a slow, sneakered, ragamuffin saraband, now after a Denver fiasco ripping into an exuberant barefoot dance, now smashing a chair over a stranger's head, now reacting in Paris to her first taste of snails: "With that sauce, you could eat erasers." Thanks to her, Molly is dripping but undrowned...