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Caruso's Canio in Pagliacci. But every modern Boris has at least one feather in his cap, and-since Russians still consider Boris their operatic masterwork-most of them come from Moscow. Both Hines and London have sung the role there, and both now claim to be about to make a recording of the opera with the Bolshoi company. Khrushchev himself applauded London, but last week, when Hines sang his Grand Guignol Boris at the Met, Soviet U.N. Ambassador Nikolai Fedorenko came backstage and said, "You are Boris...
Junta leaders were reluctant to arrest Yun and Huh for fear they would become political martyrs. But the men around Park did not hesitate to reject the opposition demands. Defense Minister Kim Sung Un summoned 160 top military men to Seoul for a strategy meeting, later took to a nationwide radio hookup to speak for them: "We strongly support the present government. There are seeds of uneasiness in the country, and this is not the time to transfer the government to civilians.'' Then, to make the point more emphatically, all 160 officers rode grandly through the streets...
With some small successes behind him, McCracken went to Washington, D.C., three years ago to sing his first Otello. His mastery of the part won him other bookings in it, and since then he has sung the role more than 50 times in ten different productions. For all his familiarity with the Moor, he still dwells on Otello's mysteries and often the tragedy of it gets to him. ''Sometimes the death of Otello affects me so much," he says, "that tears fall and I begin to choke up. That's no good. The audience gets...
Next came Patches, which sounded like a promotion piece for double teen-age suicide; it was among the year's biggest hits. This year's first hit was Go Away, Little Girl, in which the message sounds suspiciously like a souvenir from Lolita. It is sung by Steve Lawrence, who, perhaps significantly, has reached the Humbert Humbertish...
Menotti has not had time within the framework of a television hour to develop either characters or unity of mood, has tailored his libretto to the limitations of the picture tube. But musically, the little opera is somewhat more successful. One aria, sung by Metropolitan Opera Soprano Judith Raskin, is lyrical and haunting; left alone in the corridor while her hus band, played by Baritone John Reardon, darts off on one of his searches, she sings I Shall Never, Never See My Home Again, the vocal highlight of the performance...