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...Stupenda really got on with it a few nights later as the star of opening night's new production of Bellini's bel canto classic Norma. Though Sutherland did not warm up until after her cruel Act I setpiece Casta Diva, she has rarely sung as passionately or been so actively involved in the dramatic proceedings. Under Tito Capobianco's ingenious direction, Sutherland clearly dramatized the two sides of Norma's often enigmatic personality-severe and stately as the imperious high priestess of the Druids, yielding, even frantic as a woman in love with, and ready...
...decades since, Adler, now 67, has more than doubled the company's regular fall season (from five to eleven weeks) and quadrupled its annual budget past the $3,000,000 mark. He has also introduced a widely adored spring program for offbeat operatic productions sung in English (among them Kurt Weill's Mahagonny). More important, he has launched the roving Western Opera, a company of young American singers and players that regularly tours in places as far apart as Alaska and Arizona. But it is in the cavernous War Memorial Opera House of the parent company that Adler...
LLOYD GEORGE KNEW MY FATHER More old parties, though not quite so ancient, take the stage in William Douglas Home's latest play. The title comes from an inane ditty dear to generations past: "Lloyd George knew my father/ My father knew Lloyd George," sung, ad infinitum, to the tune of Onward Christian Soldiers. This play features a potty old retired general (Ralph Richardson), whose thought processes seem to have stopped around World War I, and his spry-spirited wife (Peggy Ashcroft). She is resisting progress in another way by making calm, matter-of-fact preparations to commit suicide...
JAMES TAYLOR thinks the blues is just a bad dream, and Duke Ellington once wrote that the blues is a gray, gray day. But the blues is more; played and sung right, it can really heal the sick, raise the dead, make the lame walk and make the blind see. Because the blues is often spiritually cleansing. B.B. King brought his blues, the cleansing, uplifting type, to the still night air of Boston Common last week, and to a predominantly white audience, proving that even as far away from his turf as he was that Wednesday night, the blues reaches...
...modern' work; and the audience response was stereotypically reserved. But all of this is contrary not only to the spirit of the score, but also to Berg's expressed attitude toward the performance of his works. Consider his enthusiastic praise of one production of Wozzeck (Leningrad, 1927): "Wozzeck was sung with belcanto. Yes, a modern opera needs just as nice singing as Troubadour! And the phrasing must be just as flexible." Such remarks must also have some significance for the performance of Berg's chamber works...