Word: sung
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...lasts only fifteen minutes, but the gravity of the mood is maintained by such ominous lines as "No student shall play ball or noisy games in the yard, in corridors, or on grounds immediately adjacent to a college building;" or "No singing shall be allowed." The latter is assertively sung by two sopranos...
...travelers to explore on their own. In Warsaw, two or three visited a Polish university center for a three-hour talk with some of the students. In Budapest, on the tenth anniversary of the Hungarian revolution, some of the tour members heard Liszt's moving Coronation Mass sung at historic Matthias Church, where the Hungarian kings were once crowned. There was time for a boat trip up the Danube, a visit to a Polish supermarket, an inspection of new apartment houses in Belgrade, and a visit to a Rumanian machine-tool factory. At the Golden Goose Restaurant in Prague...
...that's the first act--90 minutes of tedious exposition, interrupted at nitervals by flashy cabaret numbers signifying nothing, plus two musical attempts to represent the unrest which will shortly usher in Nazism. Some of the scenes and some of the songs are briefly engaging, particularly the "Pineapple" number sung by Miss Lenya and Jack Gilford, and Jill Haworth's opening carabet song. But nothing jells. The book seems to have been written as padding for an inspired score, and the score as the same for an exceptional book...
...central character is Carter Jones, splendidly sung by Negro Baritone McHenry Boatwright. Schuller sees Jones as "the type of Negro whose personal and racial characteristics have become undefined because of attempts over the years to adapt himself to the dominating social order. He simply wants to lead a decent life in an indecent society. " Onstage, that society is represented by a gang of white toughs, in an unnamed U.S. city, who accuse Jones of an undisclosed misdeed, subject him to a "trial" in a cotton warehouse and beat him mercilessly. He seeks help from the Legal Aid Society, friends...
...boffo. In Antony and Cleopatra, the scenery outweighed the music. La Traviata, Verdi's melancholy masterpiece, was buoyed by the stylish performances of Anna Moffo and Robert Merrill. La Gioconda, an en dearing old war horse, came vibrantly alive in an opulent but refreshingly conventional production, beautifully sung by Renata Tebaldi and Franco Corelli...