Word: coloratura
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...lovesick knight Orlando (Tenor John Gilmore), crazed by a passion for Angelica, the Queen of Cathay, Haydn gave a stirring entrance that suggests the depths of the mad paladin's emotion. On Angelica (Soprano Randi Marrazzo), he lavished arias in each act that shimmer with dazzling coloratura and touching pathos. And for the finale, he composed a high-spirited, catchy septet that reconciles the conflicting emotions with warmth...
...with Hoffmann the butt of a joke shared by everyone except him. Olympia, the crowning achievement of Spalanzani's workshop, is obviously a machine, and in a fine, broad comic touch, Director Schenk has the inventor's assistant twist each of her fingers to produce the dazzling coloratura of her famous Doll's Song. The mood turns passionate when Hoffmann meets the sensuous Giulietta, and Schneider-Siemssen's Venice creates an atmosphere of dark mystery, with shadowy palazzi looming over dark canals whose waters hold untold secrets. The intensity deepens and comes to a climax...
...Mystic, Conn., were forever taking Meryl and their two boys (Brother Dana, 28, is a bonds salesman who lives in New Jersey) to museums, the theater, the ballet and ball games. But Meryl had few friends, and as far as anyone knew only one asset, a "nice, light, coloratura voice." At twelve she began taking singing lessons in Manhattan with Voice Coach Estelle Liebling (and gradually became aware that the "nice lady who had the lesson before me" was Opera Star Beverly Sills...
...Marriage of Figaro. Despite taking on some distinctly heavier parts, mostly Verdi heroines, in recent years-Aida, Desdemona in Otello and Elisabeth in Don Carlos-she is still rightly regarded as the finest Mimi and Susanna around. "The dramatic soprano voice is big, and for the coloratura you must have the high notes," says Freni. "But the lyric voice is about quality of expression. It must sing easily and softly in the high notes. I think I am really pure lyric...
...score has two powerful moments that foreshadow the composer's mature style. The first comes in the opening, when the heroine Odabella (Soprano Marilyn Zschau) confronts Attila (Bass Samuel Ramey), who has just killed her father and razed her city, Aquileia. In a fiery aria laced with coloratura, she swears vengeance. Around her a chorus of barbarians praises Attila's conquests. The scene is an early example of the art of dramatic juxtaposition perfected at the end of the third act of Otello, with lago gloating over his fallen master as the Venetians outside sing the Moor...