Word: vocalizing
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Dates: during 1950-1959
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Unanimous in Geneva. The kind of natural singer whose effortlessness and grace make singing seem easy, she warmed up on the seldom-heard Recitative and Aria of Messagera from Monteverdi's Orfeo. She soared sweetly in Scarlatti's Le Violette, then navigated the vocal rapids of an aria from Handel's Joshua with sureness and poise. In a full, flowing voice, at its darkest the color of a ripe Spanish olive, she sang easily (if a trifle affectedly) through a group of German lieder and on to the songs of her native Spain. In her last encore...
...audience liked some of Elsa's pitches, but they were a little letdown by the delivery: she made no effort to cozy up to the customers between numbers. Persian Room audiences have been trained on entertainers who glide around the ringside tables, wooing the patrons with vocal ardor and sentiment...
Taft is, of course, a national figure, and it is his part in the Ohio campaign that makes it a race of national interest. Labor dislikes him because he was an author and the most vocal exponent of the Taft-Hartley Law. Many Democrats want to get rid of Taf because he opposes the administration consistently and has the prestige among his Republican colleagues to make these political opinions felt. Taft balked at sending aid to Europe, opposed the Atlautie Pact, fought the nomination of David E. Lilienthal as Atomic Energy Commission Chairman, advocated renewed aid to Europe Kai-Shek...
...first three days Schorr, now head of the vocal department of the Manhattan School of Music, "just talked" to his City Opera "kids." He saw no reason to do Meistersinger "the way we did it 30 years ago." But he wanted them to understand the true (non-Wagnerian) history of the 16th Century German guilds so they would know what they were singing about. Then he went to work on German diction. When he got down to the fine points of acting, his final advice was simple: "Be yourself. Act as naturally as possible and you are the best actor...
...night, the audience in San Francisco's opera house found huge (6 ft. 2 in., 220 Ibs.) and handsome Tenor Vinay visually, if not vocally, a heroic match for Soprano Kirsten Flagstad. Wrote San Francisco Chronicle Critic Alfred Frankenstein: "To be sure, [Vinay] did not bring the music all the suppleness and vocal ease one hoped for, but he brought it something else that was almost equally important-a tenderness, lyricism and fragility of expression that were altogether unprecedented. For once, Tristan's ravings in the third act seemed only five times too long instead...