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Carmen and . Music Reigns a a a Aida As Exciting Operas Are S Aged by Tatyana Von Bezorowski Endlessly in Its First Act and Than in This Opera

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Carmen and . Music Reigns a a a Aida As Exciting Operas Are S Aged by Tatyana Von Bezorowski Endlessly in Its First Act and Than in This Opera 21 a e Carmen and . Music Reigns A a a Aida As Exciting Operas Are S aged By Tatyana von Bezorowski endlessly in its first act and than in this opera. Unfor- made everybody long for faster tunately, the flair in arm One of the least exciting Met progress. A remark was movements which his ballets Opera weeks in Atlanta this overheard after the second showed diminished the poise writer has attended in the last scene-Hit is a long opera-it is and elegance of the waltz and several years. happened to be over by 11:30." famous polonaise to an this season. It is not really a long opera, but overacted, affected and flurried Despite Luciano Pavarotti's is made tiresome in this stage dance. magnetic presence on stage and production from the beginning. Friday evening's Aida was his golden voice. Opening Night There is little action in the first composed by Guiseppe Verdi for with 8allo in Maschera. music act; only some Russian folk 80,000 francs for Ismael Pasha. by Guiseppe Verdi. did not dances bring some life to it. But the Khedive of Egypt, and was come up to expectatons. Only even in these the spark is first performed in 1871 in Cairo. Bianca Berini. singing the role of missing. Costumes were rich, if Ulrica. could with her Alt-voice None of the voices are sometimes rather topheavy. project as well as Pavarotti. projected at all. Teresa Kubiak, Settings were more than Judith Blegen as the pageOscar with her voluptuous physique, spartan, or should It be said: gave a lively portrayal of a did not quite create the illusion less. The palace hall had a dedicated youth with her clear of a young girl, innocent and cracked rock wall as back- soprano. Gilda Cruz-Romo was expectant of life. Her physical ground, very unpalace-like. a beautiful and passionate endowment. however, went which stayed basically the same Amelia. well with her later station in life through all scenes. A problem for voice projection as a matron and wife of Prince Rita Orlandi-Malaspina as could have been the stage Gremin. Aida and Giorgio Lamberti as setting, wide open in all The second and third acts Radames, both in good voice. directions, so that sound offered more to the eye in projected well. Mignon Dunn as probably travelled up instead of costumes and ballet, if nottothe Amneris, daughter of the out to the audience. ear. Tenor Nicolai Geddahad his Pharoan. was her usual self: Emphasis in stage setting was best part in the emotional and good in voice and acting. on simplicity. Most impressive touching aria of his farewell-to- Coming to the point of acting, was the seance scene of Ulrica, life before the fatal duel. James there was a damper of wooden dramatic in the severe angular Atherton added a well stances in many scenes. In seating arrangement of the characterized comical note with particular Giorgio Lamberti has puritan-style-clad women in his affected little French to overcome a stiffness in stage Luciano Pavarotti somber black. chanson. presence. Only the third act had a richer The third act was brilliant 'in The ballet scenes, choreo- around, trying to continue the a good choreographer's creative setting which was made its colors and elegance. The graphed by Louis Johnson. had dance, trying to free himself. He ability. interesting by the novel idea of setting is in a Petersburg palace their own problems. The temple could do so only by pulling the an enormous Baroque painting, ballroom. Splendid robes, dance of a young priest. with hem off. Last, something has to besaid showing the patrician Boston sparkling diamond col/iers and authentically shaven head and about the audience. To a great family with the features of the diadems. colorful uniforms of in white robe, was most Planned hopping was the part it behaved with the worst actual singers in the opera high military officers and unconvincing historically. With chief characteristic of the dance opera manners, or. more playing their roles. diplomats (authentic of their wings of the falcon god Ra of the flower maidens in a later ignorant than ever. And it was Tuesday's Carmen. music by time. 1830) create a picture of sleevelike on his arms. he scene. However, there was the noisiest, too. Almost Georges Bizet. was even simpler splendor. In its center reigns fluttered about, rather inventive imagination and constantly something was in settings. since part of the Tatvana. no longer country style, seductively feminine in certain beautiful and perfect execution dropped somewhere: programs. decoration had not arrived in but poised and sophisticated in a movements. and completely in the ballet ofthe warriors, with opera magazines. Purses time. Also dialogue was cut out, gown of haute couture. Jerome missing the dignified cere- one Egyptian and one defeated snapped, coughs were heard so that for many it was a Hines as Prince Gremin gave monial form of the Egyptian Ethiopian pitched against each here and there. Applause broke disappointing experience, some resonance to this last act temple service. Superfluously, a other. Acrobatic. karate-style into continuing music after an Wednesday's Eugene Onegin. with his rich bass and good grotesque note was added attacks and defense. a wrestling aria, or worse, when the music by Peter Ilyich Tchai- projection. involuntarily, when he got dance of warriors. swift and curtained opened on ascene not kovsky and based on a poem by Choreographer Norbert Vesak caught with one foot in the skillful movement of athletic worthy of applause, or after a Alexander Pushkin, dragged has shown better s Ie before hemline of his robe ho in bodies, made a scene worthy of few dance steps on stage. 21: The Met by Tatyana von Bezorowski 22: Friday the 13th bv Mark Flanagan 22: My Brilliant Career by Anicia lane You gotta be what you are. 23: The Nude Bomb by Marc Delamater And the Entertainment Section is 24: A Free Woman by Gary lemco an attempt to fill the readership 24: The Fog by Glen Thrasher in on what is most entertaining 25: Richard III by Gary lemco and Edward McNally around town. This week, we lead 26: Television by Danny Yearwood off with a review of the NewYork 27: Pat Gleeson by Steve Murdock Metropolitan Opera, and we 27: Comic Art by Roy Richardson follow with just all kinds of stuff. 28: George Duke by Brantley Lightfoot 28: Pop Records by Gregory A. Farley.
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