Word: yeend
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...George London, Violinist Nathan Milstein, Pianist Guiomar Novae's, the Obernkirchen Children's Choir, Cellist Gregor Piatigorsky, the Quartette di Roma, Pianist Artur Rubinstein, Guitarist Andrés Segovia, Mezzo-Soprano Jennie Tourel, Baritone Theodor Upp-man, Duo-Pianists Vronsky and Babin, Baritone William Warfield, Soprano Frances Yeend, Harpist Nicanor Zabaleta...
Debussy: Le Martyre de St.-Sébastién (Frances Yeend, soprano; Miriam Stewart, soprano; Anna Kaskas, contralto; Oklahoma City Symphony Orchestra and Chorale, Victor Alessandro conducting; Allegro, 2 sides LP). Composed to a "mystery" of D'Annunzio for Dancer Ida Rubinstein, Le Martyre (1911) was itself martyred in an unsuccessful play, is rarely performed. It contains many a strange and beautiful bar, stands pretty well on its own in this first recording. Performance and recording: good...
...Center audience finally heard the result, they brought the house down. Everything clicked: orchestra (under Joseph Rosenstock), scenery (by H. A. Condell) and singers. James Pease made the role of Sachs, the cobbler-poet, glow with gentle wisdom. The little second-act rage of the blonde Eva (Soprano Frances Yeend) was as charmingly impetuous as it should be. Her Walther (young German Heldentenor Hans Beirer) was impassioned, and in notable voice, in the Prize Song. And for once there was a Beckmesser (Baritone Emile Renan) who kept his comedy on the right side of slapstick. Altogether, it was a Meistersinger...
...drinking tune." The Glee Club was obviously well trained by Professor Woodworth. They made no slips at all Friday afternoon, and the one minor error, Saturday, when, in one passage Kousse- vitzky cued them in a measure too late, was not their fault. The quartet of soloists included Frances Yeend, soprane; Eunice Alberts, contralto; David Lloyd, tenor, and James Pease, bass. Mr. Pease has a rather rough voice, and his intonation in the opening recitative was not very accurate. But the singing of the other three soloists was fine. The blending of the voices in the ensemble was especially noteworthy...
...music. For, despite name, the Requiem is not sorrowful or morbid, but confident and reassuring. Particularly fine were the male voices in the great fortissimo, "Behold, all flesh . . . ," and Radcliffe attained equal stature in the flowing fourth section and the final fugue. The impassioned soprano solos of Miss Frances Yeend lent the note of high personal achievement needed to round out a very satisfying concert...