Word: cherubini
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Dates: during 1950-1959
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...resignation of Dite alia giovine and the yearning of Parigi, O cara, Callas held her audience in a kind of hushed trance. Her tones were rock firm, aglow with a dozen nuances of passion, from hectic gaiety to quiet sadness. Callas scored an even bigger triumph in Cherubini's Medea. Whirling her heavy cape alternately like a regal robe, a witch's hood or a pair of bat wings, Callas managed a breath-taking range of emotion: she seemed to caress the air when pleading tenderly with Jason, then railed at him with fists clenched and her voice...
...Soprano Farrell and the San Francisco Opera, last week's opening-night performance of Luigi Cherubini's Medea was both trial and triumph. The title role is one of the most exhausting in all opera: Medea is on stage for 80 of the opera's 105 minutes, and during most of that time she is singing strenuously. But Medea also has its great moments, and it provides an ideal vocal showcase for a dramatic soprano. In the last five years, Maria Callas has virtually made the role over in her own fiery image (she will sing...
...Symphony Guild promised everyone champagne punch at intermission, and apologized for serving it in paper cups. The New York Philharmonic, whose far less serene opening had come two days late because of a musicians' strike for more pay, last week featured gifted young (27) Thomas Schippers conducting Cherubini and Prokofiev symphonies. The Kansas City Philharmonic, lucky to make its 25th season despite a big deficit, was out to win new fans by playing in movie houses, churches, synagogues and high-school auditoriums (one concert will be sponsored by the Katz Drug Co.; admittance: a cash-register receipt). Manhattan...
...started off with great flair, giving the city handsome productions of Cherubini's short The Portuguese Inn, and Honegger's Joan of Arc at the Stake, both performed for the first time on a U.S. opera stage. The next year he followed up with the U.S. premiere of Sir William Walton's Troilus and Cressida. Adler also revived such difficult classics as Verdi's Macbeth and Wagner's Flying Dutchman, gradually building up his own high-caliber stable of singers, including Germany's Elisabeth Schwarzkopf, Vienna's Leonie Rysanek, British Tenor Richard Lewis...
...Fields. Though they have since moved into major concert halls, Gamson, Oxenburg and Co. still produce works that are rarely if ever done by other companies in the U.S. or abroad-Gluck's Le Cadi Dupe, Purcell's Witch of Endor, Cherubini's Medea, Handel's Julius Caesar. Despite packed houses, the company's current deficit runs to about $35,000 a season-which in the opera business really adds up to a howling financial success. Contributions ("We never know where we're going to get the money") cover the losses...