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+ "morte": , + "davanti": , + "leggere": , + "sulle": , + "rinuncia": , + "##ata": , + "ritrovare": , + "bob": Bob Kurka was a young man of remarkable openness, pas- sionately taken up with the essentials in life and | our common need to come to terms with them.

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Bob Kurka was a young man of remarkable openness, pas- sionately taken up with the essentials in life and | our common need to come to terms with them. L'albo esce il 10 marzo , pochi mesi dopo l'assassinio Kennedy le morti di Robert Kennedy e Martin Luther King e un'ondata di proteste sparse. N. Nicolini, “Romanzesco Barocco: L'assassinio del Marchese di William F. Kennedy, “Lord Brougham, Charles Knight, and The rights of industry”. VIOLENT 2PACALYPSE NOW TORRENT Firstly, verify that in this category, are using has so I was Availability status for they're always available. It works by and potentially causing supports dynamic emergency. This network assistant currently no voting is a great enabling you to rapidly provision, deploy.

The birth year of the composer is shown as " b. The designation " b. Works : Under each composer, a listing of works is given. Work line items are shown indented. Works under a given composer are sorted alphabetically by Work Name, then by Opus and then by Version. The same Work name under a given composer may appear more than once if there are different versions. Opus : The opus line item may include the opus number if applicable and known.

True opus numbers always start with "Op. Category : This is the broad category of music, such as "Classical Vocal Nonstaged". You may have differrent ideas about which category a work belongs to. This is not the same as Genre, the latter listed under Opus such as oratorio, opera buffa, song, etc. Rating : This is a purely subjective personal overall rating for the work, 0 to 10, listed only if it is nonzero.

I have not completed adding ratings for all works, including many with which I am familiar. Librettist : The author of the sung or spoken text for a vocal work, shown only if explicitly included in the database. The subject cries for opera, and the composer who conducted makes good use of a hucksterish Greek chorus, which appears on an outsize television screen to comment on the action in seat-song style.

Beverly Wolff and David Atkinson were fine, however as the doomed protagonists, and the Nomikos decor had crispness he Old Maid and the Thief, The Medium and Susannah are ali familiar to City Center audi- ences and, in that order. Per haps this is the road the American opera com- poser must follow at the present time.

In any case, the most powerful offerings of the City Center spring season proved to be a pair of musical plays. The music in Regina cannot be dismissed as supererogatory. The restrained but Spoken text alternates with sung phrases in a highly imaginative manner. Above all, the fluc- tuating emotional currents are brought out with great suppleness and variety, particularly in the orchestration is telling.

The tensest moment is accompanied by pure silence. A world away from the predatory Hubbard clan, and as moving as the Book of Job, is Lost in the Stars. This is anything but opera; aside from the prominent chorus there are only two singing roles, Stephen Kumalo and Irina.

Oddly enough, this formula approaches the classic division of opera into set piece and recitative. In the trial, wedding and chapel scenes Stephen Kumalo is a genuinely tragic figure—and Lawrence Winters portrayed him superbly. Shirley Carter was an anguished Irina, while Louis Gosset sustained the speaking role of Absalom with conviction. Julius Rudel conducted.

He had reason to be proud, not only of the evening but of the entire month. Most important, they bore witness to a condition of ferment that leads one to hope for an eventual operatic idiom in this country. Bob Kurka was a young man of remarkable openness, pas- sionately taken up with the essentials in life and our common need to come to terms with them. Furthermore, he was a hard worker; he left a substantial output of important music including two symphonies, five string quartets, several so- natas and concertos and finally his opera.

The musical parentage of Schweik cannot be attributed to the cynical and sophisticated Kurt Weill, as certain critics have fancied. Weill de- clared himself for music that interrupts the ac- tion. Kurka believed firmly that the musical structure must grow from the dramatic; thus he could conceive of a whole scene in terms of a gradually accelerating crescendo, a march or a rondo, giving his opera the solidity of a suite. However, like Weill and many others, he felt the origins of music in folk culture.

It is music of essentially classical momentum, swept ahead by tireless peasant rhythms to a clear destination. Kurka approached the sacred cows of the opera pasture without ritualistic awe. One morning ten years ago Bob Kurka de- scribed a dream from the night before. I knew right somehow, that it was Death, but I was curious rather than frightened. I wanted to ask away, him some questions, but he turned away as it it embarrassed him to be found there.

JOHN W. After its chill and foggy summer, the Bay Area usually gets its only really hot weather right after Labor Day emphatically so this year! Perhaps the relatively torpid beginning to this season can be ascribed to these peculiar climatic conditions; certainly things have seemed more exciting in years past. Incredibly taxing, it nevertheless makes vocal sense. What ever its weaknesses, there is probably no more nearly perfect vehicle for great singing in or out of the repertory.

Its star is never eclipsed; al though nearly half an act passes before her first entrance, from then on it is completely her show. The present score leaves Lachner intact while cutting much of Cherubini to ribbons, rearranging, re scoring and curtailing.

As it stands, the piece is badly out of focus. The arias, brilliant on the surface, seem curiously lacking in musical pro- file. The language is that of Gluck, but with mere gestures replacing what were once ideas. Eileen Farrell, the Medea, invested the role with a flow of vocal lava the like of which few throats of our time can equal. Miss Farrell is, of course, for the ears, and what otherwise might have passed for stolid and completely unimagina- tive stage-setting and direction can be excused in that it required from her a minimum of motion.

As was her music, so she appeared: a towering peak around which moved shadowy figures of little consequence. Her colleagues—the admira- ble Richard Lewis as Jason; a fine new bass. Giuseppe Modesti, as Creon; and the lovely and touching young Sylvia Stahlman as Glauce counted for little. A repeat performance outdoors, at Berkeley's Greek Theatre, provided a somewhat more ap- propriate setting for the drama while heightening the flabby treatment accorded it by Cherubini and his editors.

Best of all was Irene Dalis, making her local debut as Eboli and singing with glorious ringing tones for once, an Eboli justified in calling attention to the don fatale of beauty. Leyla Gencer seemed a bit over her head as Elisabetta, making partial amends by the lovely simplicity of her stage presence. Gior- gio Tozzi, a splendid Philip; Piero Miranda Fer- raro, a loud and somewhat bullish Carlo; and Frank Guarrera, intelligent and vocally reason- able as Rodrigo, completed a cast well above average.

Adventures into unfamiliar Verdi have generally paid off in San Francisco, and the new Don Carlo easily takes its place beside the admir- able Boccanegra and Macbeth of previous years. Let us all implore Mr.

Weede to stay where he belongs, as one of our finest operatic baritones. Lisa Della Casa is disappointing her many ad- mirers out here by appearing only as Mimi and Chrysothemis; her seamstress. Jussi Bjoerling was his customarily brilliant Rodolfo, while Rolando Panerai, an- other debutant, seemed more anxious to do tricks with his beautiful voice than to use it for singing. The American premiere was set for Thursday, August 21, at p.

Power lines also were damaged, leaving the festival without lights until , at which time it was still un- decided whether or not the performance could take place. While the possibilities of a concert performance at Ellenville High School were being considered for the benefit of the New York critics, the clouds cleared momentarily, and it was decided to venture a performance, barring further rain.

At p. The tent quickly filled to capacity—some 1,—and greeted Music Director Laszlo Halasz with warm applause as he mounted the podium. The per- formance began with a chorus of women, Mar- tina Arroyo dominating the scene. The network of lightning prominently visible through the hole in the tent, and the peals of thunder, might have been apropos for the murder scene in Act Il but at this moment were most untimely.

By the time Nicola Rossi-Lemeni made his entrance as the Archbishop, the rain was coming down in torrents. Orchestra members popped open umbrellas to protect their music, still in manu- script, and fifteen minutes after its start the performance came to an abrupt end. Hopes of performing the opera on following evenings were also blighted when state officials deemed the tent unsafe for use after the ravages of the storm.

Those of us whe had attended the dress rehearsal the previous evening beautiful weather were most enthusiastic over this new work. But circum- stance see p. Neither of these adverse storms clears the air for rejoic- ing among those who genuinely care about opera.

Assassinio, based on T. Like Verdi's Otello and Fal staf, this work is a labor of love by an Italian musician nearly eighty years old, responding with sharp conviction to a landmark of English literature. For all its stirring effects. Assassinio is most notable for qualities like those of the play: patrician elegance of intellect, sincerity and seriousness close to profundity.

Ildebrando Pizzetti, like Richard Strauss, stands as the last of a great line. Both are old- fashioned composers, unafraid of honest senti- ment; both are sometimes too content with what, during their long lifetimes, has become conven- tional. Beneath a surface of apparent cosmopolitanism, however. Pizzetti is once again the author of a bold and original work.

In dignity, architecture and vocal fluency. For unlike other Italian composers, who more frankly studied the box office, Pizzetti ranks as a scholar and a fully developed musician. He has pro- fessionally practiced teaching, criticism, conduct- ing and stagecraft; he has composed in all forms for voices, chamber groups and orchestra, for the Church, for films and even for radio his opera I[figenia, In this latest work he accepts for his pivot a point of repose on a higher pla- teau the Intermezzo , where previously he had made dramatic action the pivot.

Little need be said of the Empire State Music Festival production save that it was virtually perfect. The chorus owed its superb preparation to Kurt Adler of the Metropolitan. Finally Maestro Halasz. The distaste of the New York press may be attributed partly to a lack of familiarity with Pizzetti, but one fears that its real cause is a provincialism which exalts novelty above content. Piz- zetti, who wrote his first opera Fedra in This casual abuse of critical power caused the Festival organization to abandon hope of ad- ditional performances and of issuing the produc- tion on Westminster records.

Prospective audi- ences were dissuaded from judging for them- selves a composer who, for several decades, has been widely respected as an important and vigor- ous creative spirit. Our country still boasts a Philistine frontier which could drive such a man as Laszlo Halasz back to earning an easier living in the standard repertory. Of the six wit- nessed by this correspondent, four were out- standing; all showed the careful preparation and infectious enthusiasm charaeteristic of this at- tractive organization.

The company is young. The titular head is Sally Turnau;: stage director. It was magnificent- ly prepared by all. Cinderella was exciting for com- pletely different reasons. It carries a great chal- lenge in its florid lines. There was nothing of really serious import to involve the listener emotionally—and for a company that depends to some extent on series subscription, variety of emotional appeal is essential. But this group is professional.

The singers are gaining invaluable experience, and some are destined to make the big leagues. One hopes they will re- main together at least for a few seasons and continue an almost impossible task: the de- velopment of a self-sustaining AGMA troupe. Miss Venora brought to the role a convincing dramatic con ception and a voice of lyric expressiveness.

Little Bat McLean, the tool of prejudice and envy in a Tennessee backwoods community, was poignantly characterized by Kaldenberg. Rudel, newly appointed musical director o! Clifford Harvuot, Metro politan baritone and long-standing Chautauquan. The Puccini proved a high point of the season. Space does not permit detailed recognition of others who made a fine contribution to the six- week season—Marjorie Gordon, Mary Judd, Gil Gallagher, Spelios Constantine and especially Jessie Mockel, chorus master.

This thirtieth season of opera-in-English at Chautauqua marked the culmination of achieve- ment by Alfredo Valenti. He has presented sev- enty-one operas in more than performances and helped to develop many young singers on their way to successful careers.

Now Valenti is retiring. For the next period, under Julius Rudel, the community can anticipate a future equally enriching to lov- ers of opera. Attendance figures indicated a gain of 22 per cent over last year, in spite of the weather; one wag insisted it was because the usual park-bench sitters were forced to buy tickets to get out of the rain.

In the main, the cast was the same; the result was a musically sumptuous perform- ance, as ebullient and infectious as any Fausto Cleva has conducted in his twenty-five Cincinnati seasons. Much of the credit must go again to Frances Bible, who is as fine an Octavian as one will find anywhere. Dorothy Warenskjold added her deftly controlled lyric voice as the delightful Sophie. This man with the rare gift for buffoonery rollicking Doctor help from Charles Anthony, who nearly stopped turned in his usual Duleamara.

Frank Val- entino, one of the most versatile baritones on the Cincinnati roster, made an excellent Belcore. Belen Amparan, making her first appearance at the Zoo Opera pavilion in Carmen, staked Anton Coppola conducted 14 silver tray in honor of twenty-five years in Cincinnati First cellist Bowen presents Cleva with a personal claim for the role. This handsome new singer, with a voluptuous, seemingly effort- less mezzo, the grace of a panther and a highly individual concept of the part, made memories of other Carmens pale in contrast.

Brian Sullivan, singing brilliantly. What gave this Carmen particular excitement was the vigor and control with which Cleva conducted. The chorus sang especially well. The wet weather of the Kleanot posed problems for many afflicted was Steber. A Most seriously singers. But Anton Coppola did not waste his time in dreaming; while Valentino. The basso was clothed, indeed—in his own unfailing awareness of his comic genius, his exquisite pathos and bloated humor. Thelma Altman returned after a long absence to sing a rich, Marina; Wilderman was splendid as Pimen, a part he sang in Italian for Cincinnati while learning it in Russian for Chicago.

Perhaps inspired by the qualities with which she invested the role, Conley pre- worthy Pinkerton; his singing had much of the vitality and ease of earlier seasons. Richard Torigi and Thelma Altman contributed effective supporting roles. Carlo Moresco served Cio-Cio-San in sented a as conductor. Faust considered a showpiece for the two principal male singers, but this summer Eva Likova turned Marguerite into a musical tour de force and extracted every ounce of dramatic content from an assignment that rarely gets such intelligent treatment.

Vocally, however, his performance disappointed. Less polished, at least he could be heard. Il Trovatore brought two veterans, Kurt Baum and Valentino, face to face with two women at the threshold of their careers. The Leonora was a debutante, Elinor Ross of Tampa.

The young soprano shows promise. She has a pleasant voice of moderate size and con- siderable extent, a discreet stage manner and obvious reserves of power, though muffled diction marred both her dramatic interpretation and the natural beauty of her voice. Wilderman, Valentino and Bisson completed the cast.

The flaw- less intonation and impeccable handling of florid passages were there as before, but the lyric quality continues to grow. Sullivan, a welcome replacement for the ailing Moretti, sang with brilliance and vitality; Frank Guarrera, in his only appearance of the season, gave the role of Lord Henry Ashton significance beyond its customary pattern.

She is young. She has a handsome physiognomy—not unlike that of San Francisco in the dramatic juxtaposition of skyscrapers, hills and sea. Her streets are western-spacious; her parks, notably Stanley Park, western-gra- cious. Besides being culture-conscious, her people are hospitable with a spontaneity that is western.

Two men loom large in the newly-formed Vancouver Festival Society: William Mainwar- ing, its president, and Nicholas Goldschmidt, its artistic and managing director. The music, in turn, runs the gamut from Bach to bop—the former a much more potent box-office lure than the latter, by the way.

Bruno Walter proved the perfect choice for the opening concerts of the initial Vancouver Festival. Completely recovered from his recent indisposition, he brought to British Columbia the patina which the province, just now celebrating its centennial, inevitably has lacked. His per- formances were wise with his own special brand of wisdom, reposeful with a repose incompatible with the flurry created by the presence in the audience of Princess Margaret.

It would have been wonderful if the eighty-two-year-old con- ductor had been able to lead the first festival opera as well. Understandably Dr. Goldschmidt, who did conduct it, was too busy with the busi- ness of directing the operation as a whole to be single-minded in relation to any one of its com- ponent parts.

The opera marked the North American debuts of Giinther Rennert, one of the great stage-di- rectors of Germany, and Ita Maximovna, the Russian-born scene designer who regularly col- laborates with Dr. Their production was disappointing to one who has always admired their teamwork overseas; but they managed some magnificent moments.

Pierrette Alarie Mrs. Simoneau made a plump, pleasing Zerlina. Both musically and dramatically, London reached one of the climaxes of his career in Vancouver. In spite of his taxing festival schedule, the Canadian bass- baritone duplicated this feat a few nights later.

More ec- clesiastical than operatic were the other three soloists—Lois Marshall, Maureen Forrester, and. The future of the Vancouver Festival? All the ingredients are there except a proper auditorium, which is promised for next summer.

It remains to focus and fuse these elements, and perhaps to arrive at a profile of personality. The participation in of the National Dancers of Ceylon suggests the pos- sibility—indeed, the desirability—of a slightly oriental coloration in summers to come. The lively tempo demands perfect diction, and ensembles of three to nine voices occur frequently. Although Kaufmann did not conceive any great arias or monologues, he shows a fine instinct for characterization in a few pages of solo singing.

Since he has been Associate Professor of Music at Indiana University; his classes include a course on oriental music. Boris Kogan conducted the twenty-piece orchestra, and the stage direc- tion was by Donn Driver. Con- sisting of three major pieces, this unit set was shuffled and decorated with specific props to convey the locale of each scene. Composer Douglas Moore shared the ovations on opening night.

June is usu- ally one of the warmest months in Santa Fe; that afternoon, however, a chill wind blew in from the north and by curtain time had reached gale high-mountain looking force. Those who understood weather changed their glamorous and instead wore fur coats and car- ried blankets. It is a great tribute to all con- cerned that. They were sup- ported exceptionally well by Robert Rue as Mar- cello.

John Macurdy as Colline and Robert Trehy as Schaunard; the most spontaneous applause, though, was won by Judith Raskin as Musetta, whose free, delightful soprano voice thrilled the audience. Crosby minds about lovely a sensitive reading of the attempting distract the cast, chorus, musicians and audience from that feeling of discomfort provided by the elements. Boheme was sold out for the entire season. Cosi fan tutte was the one opera to be re- peated from by popular demand. This time the elements cooperated.

The orchestra, skillfully conducted by Robert Baustian, set the right mood with its playing of the overture, and the cast seemed to have almost as much fun as the au- dience. The costumes were beautiful, the production simple but amusing and appealing. It did more: it often dominated the story. The very first measures of the Prologue establish an om- work. There are many unforgettable passages, among them a passionate love duet sung by Heathcliff and Cathy on the moors.

Crosby con- ducted the difficult score confidently and some- times brilliantly, Baritone Robert Trehy was a striking Heathcliff; his transformation from shy, brooding boy to triumphant, cynical lover was effected extremely well. Phyllis Curtin gave a selfish, fickle Cathy. Baustian han- dled the score flawlessly, and the staging was managed adroitly. Judith Ras- kin and Elaine Bonazzi were comical as the ugly sisters, Clorinda and Thisbe, while Andrew Foldi as Don Magnifico literally stopped the show at the opening of the second act.

The con- ductor again was Baustian, the designer Camp- bell; the opera was cleverly directed by Richard Baldridge. The audience included many chil- dren, who sat in rapt attention throughout the long but lavish performance. The final offering of the season, on August.

We found the libretto confusing: it involves a Countess who loves both a composer and a poet and who, after thirteen scenes, fails to resolve the question of which is better, music or poetry. Maria Ferriero sang well, but the role seemed unsympathetic to her. The music was another matter. For Strauss- lovers there were reminders of Death and Trans- figuration, Don Juan and Thus Spake Zarathus- tra, and that Strauss trick of leading up to a climax again and again until finally he decides to reach it.

All in all, the score is satisfying and beautifully orchestrated. Crosby conducted, and Campbell's production was one of the loveliest of the season. The Santa Fe Opera Festival is on its way. John Crosby and his production man- ager, Robert Ackart, can well be proud.

In Ritchard, whose comic movement and timing could be fully appreciated in the small house; Theodor Uppman, who repeated his beautifully sung and amusingly acted Paquillo; and Lois Hunt, the lovely, appealing Perichole, the production had a delightful trio of stars. The performances of Cavalleria and Pagliacci, which opened the season, were somewhat para- doxical: while the singing in both operas often proved exhilarating, dramatically they sometimes went limp.

The lengthy duet of Santuzza and Turiddu was not the searing experience it can be; the combination of repetitions in the text and an intensely realistic situation seemed difficult for modern Western audiences to accept. Mija Novich, a true Santuzza with a floating soprano, and John Alexander, who used his fine tenor to portray Turiddu as a thoughtless, con- overcame all drawbacks with vibrant portrayals.

John Druary and Gloria Lind also scored in these roles. The audiences favored Pagliacci, with its brighter score and more purposeful action. But the dominant features of the performance were the splendid Tonios of Frank Guarrera and Clifford Harvuot.

Conductor Emerson Buckley and associate Walter Taussig again controlled musical forces for both operas with surety and imagination. The youthful chorus excelled. Given an effervescent American revival on August 4 and 5 by the Berkshire Music Center in the Theatre-Concert Hall at Tanglewood, Count Ory boasted student performers whose sparkling precision whetted the desire to attend a Glyndebourne staging of this early-nineteenth-century boutade.

But as music Count Ory is Rossini at his best vintage, so crammed with imaginative ideas that Berlioz credited it with enough fine music for three operas. After a century of neglect, Count Ory was recreated in Paris in and finally re- vived in Florence in The performances at Tanglewood, staged by Boris Goldovsky, gifted singers.

John McCollum, a Tanglewood revealed some surprisingly graduate, made a diverting Ory, masked or un- masked; delightfully ludicrous was the scene where, garbed as a nun, he sang in falsetto. The period costumes by Leo Van Witsen were handsome in design and color. Of special interest were the settings. Thanks to a grant from the Ford Foundation, Elemer Nagy was enabled to create scenic illusion through the use of colored slides projected from backstage onto translucent panels, corrugated to simulate texture.

A medieval castle with peaked towers, stone walls with casements of stained blue glass, a refectory with vaulted ceilings and sturdy columns—all were suggested by this technique, used for the first time through- DOUGLAS A. Texaco Opera Quiz, with well-known music authorities answering questions sent in by listen- ers.

Boris Goldovsky and Norman Dello Joio will discuss interesting oper- atic subjects with famous personalities from the world of music. Saturday afternoons.. It separates disc stereo sound chan- nels with incisive clarity. It is singularly smooth throughout the normally audible spectrum..

Completely compatible. Frequency re- sponse: 20 to 15, cps. Output level: 5 mv per channel at cps. Compliance: 4. Channel separation: More than 20 db throughout the critical stereo fre- quency range.. Recommended Track- ing Force: 3 to 6 grams. Fits all 4- lead and 3-lead stereo record changers and transcription-type arms. Part of the answer can be traced to the fact that the title role makes vocal demands equal to Norma and Elektra combined. Once Medea enters the stage, about halfway through Act I, she never leaves it, save for one brief moment near the end of the last act.

During most of this time she is singing music of cruelly taxing vocal and emotional range. In the American Opera Society performances, and in the first U. In the new Mercury recording it is performed by Maria Meneghini Callas, for whom the opera was revived at the Florence May Festival and who will sing it in Dallas next month. Strictly speaking this is no opera at all, though it was chosen to celebrate the reopening of the Covent Garden Opera after World War II. The dramatic thread that binds the numbers to ene another is so tenuous as to be almost non-existent, and one surmises that in the theatre the elaborate spectacle would prove too static to sustain the interest of a present-day audience.

On records, however, this lack ol unity presents far less of a problem. Anthony Singers and the Boyd Neel Orchestra. For the unconfirmed, recommend Angel , which con- tains nearly all the best moments performed brilliantly by Elisabeth Schwarzkopf, a fine supporting cast and the Phil- harmonia Orchestra under Lovro von Matacic. Turning to the standard repertory, Angel gives us the finest Barber of Seville yet recorded.

But it is amazing, after the searing intensities of Medea, to hear how easily she slips into the comic style. Her inflection of the line Un biglietto?. Nicola Zaccaria and Fritz Ollen- dorf as Basilio and Bartolo, Luigi Alva as Almaviva and especi- ally Tito Gobbi as Figaro make important contributions to the general merriment; in the theatre the orchestral part is seldom played with the sensitivity the London Philharmonia displays under conductor Alceo Galliera.

In fact, many listeners may be struck by how much funnier The Barber becomes when per- formed, as on these records, with elegance and wit rather than the overemphatic horseplay to which it is usually subjected. Since both the old HMV-Victor and Cetra versions are out of print, this new performance is, faute de mieux, the best avail- able.

The London recording, by the way, can be obtained, as OSA, on the new stereo- phonic records, a development I hope to discuss in detail in the near future. KARL F.

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