Word: contralto
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Hepburn has been immersed in Coco for a year-primarily to have an answer ready for the can-she-sing question. Basically, she is a contralto with a range of an octave and three notes. For the past eight months she has been studying voice in various places-rattling the walls in Manhattan, London, Hollywood and Connecticut. So totally has Hepburn plunged into this production that when the first rehearsal was called on Sept. 29, she swept onstage knowing all her lines...
Mahler's exalted but nostalgic Symphony No. 3 for contralto, massed choruses and orchestra. It was an appropriate choice: Bernstein has done more than any man alive to popularize Mahler. The concerts were the last that he will give as the orchestra's musical director. At the end of the 105-minute performances, Bernstein received standing ovations, and he was near tears as he embraced the soloist and first-desk musicians. The orchestra, at an emotion-laden private party, gave him a silver-and-gold mezuzah, sculpted by Artist Resia Schor; the directors of the Philharmonic presented...
...their his tory. Partridge himself sang Rosie and his latest single, Breakfast on Pluto. As much of a hit was the grande dame of busking's elder set: a round, waddling littie woman of 54 known only as Meg, who sang Danny Boy in a round, waddling contralto. Said she: "I only sing classical." The Spoonies, two stubble-chinned men in their 60s named Scottie and Georgie, clattered through Waltzing Matilda, one whacking a banjo, the other clicking two bent dessert spoons like castanets. The evening was a smash success. "After all," says Partridge, "if they weren...
...notable for the gemutlich rendition of the adagietto. This is the movement that Leonard Bernstein conducted at Senator Robert F. Kennedy's funeral in Manhattan's St. Patrick's Cathedral. The Kindertotenlieder is one of the last-and one of the best-recordings made by English Contralto Kathleen Ferrier before her death...
...quartet, however, was unconscionably bad. The bass, Mr. Mac Morgan, was totally inadequate to his tasks, displaying no vestige of tone and only a certain diaphrammatic eloquence. Paul Huddleston, the tenor, was the best of the four soloists, but was unremittingly routine. The two women, soprano Chloe Owen and contralto Mary Davenport, sang like superannuated Valkyries, spoiling the quartet passage with their mettalic loudness, and obliterating every bar they touched...