Of 2 1957 San Francisco Opera Assn. War Memorial Opera House Aida

Total Page：16

File Type：pdf, Size：1020Kb

Of 2 1957 San Francisco Opera Assn. War Memorial Opera House Aida

San Francisco War Memorial 1957 Aida Page 1 of 2 Opera Assn. Opera House Aida (in Italian) Opera in four acts by Giuseppe Verdi Libretto by Antonio Ghislanzoni Conductor CAST Francesco Molinari-Pradelli Aida, an Ethiopian slave Leontyne Price* (10/18,23) Stage director Leonie Rysanek (10/21) Carlo Piccinato Radames, captain of the Egyptian guard Eugene Tobin Chorus Director Amneris, daughter of the Egyptian King Blanche Thebom (10/18) Gianni Lazzari Claramae Turner (10/21,23) Choreographer Amonasro, King of Ethiopia, Aida's father Robert Merrill Willam Christensen Ramfis, High Priest of Isis Nicola Moscona Costumers The King of Egypt Carl Palangi Goldstein & Co. A messenger Howard Fried A priestess Milla Andrew Solo dancer Nancy Johnson Dick Carter *Role debut †U.S. opera debut PLACE AND TIME: In time of the pharaohs; Memphis and Thebes Friday, October 18 1957, at 8:00 PM Act I, Scene 1 -- Hall in King's Palace at Memphis Monday, October 21 1957, at 8:00 PM Scene 2 -- Temple of Isis Wednesday, October 23 1957, at 8:00 PM Act II, Scene 1 -- A Hall in Amneris's Apartment Scene 2 -- The Gate of Thebes Act III -- Shores of the Nile near Temple of Isis Act IV, Scene 1 -- Outside the Judgment Hall Scene 2 -- In Temple of Vulcan San Francisco War Memorial 1957 Aida Page 2 of 2 Opera Assn. Opera House Sponsors: The Projection Equipment is donated by the San Francisco Opera Guild Notes: Corps de Ballet After the originally-scheduled Aida, Antonietta Stella, cancelled all three of her scheduled performances of "Aida," two of them were taken over by Leontyne Price, who had planned to sing the role later in Europe. Thus, Leontyne Price's first Aida, and one for the history books. The third performance was taken over by Leonie Rysanek. The performance of October 23 had the following heading: Twelfth Anniversary of Ratification of the United Nationa Charter in the War Memorial Opera House, San Francisco.

Copy Link

Recommended publications

Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
[Show full text]
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020 PROGRAM#: NYP 20-27 RELEASE DATE: March 25, 2020 Music of Our Time: Liang, Dalbavie, Shepherd, Muhly, and Pintscher Lei LIANG (b. 1972): Verge, for 18 Strings (2009) (Magnus Lindberg, conductor) Marc‐André DALBAVIE (b. 1961): Melodia, for Instrumental Ensemble (2009) (Magnus Lindberg, conductor) Sean SHEPHERD (b. 1979): These Particular Circumstances, in seven uninterrupted episodes (2009) (Alan Gilbert, conductor) Nico MUHLY (b. 1981): Detailed Instructions, for orchestra (2010) (Alan Gilbert, conductor) Matthias PINTSCHER (b. 1971): Songs from Solomon’s garden, for baritone and chamber orchestra (2009; New York Philharmonic Co‐Commission with the Frankfurt Radio Symphony Orchestra) (Alan Gilbert, conductor; Thomas Hampson, baritone) PROGRAM#: NYP 20-28 RELEASE DATE: April 1, 2020 Bernstein Conducts Bernstein BERNSTEIN: Chichester Psalms (World Premiere performance) (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; John Bogart, boy alto) BERNSTEIN: Kaddish, Symphony No.3 (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; Columbus Boychoir, dir. Donald Bryant; John Bogart, boy alto; Felicia Montealegre, speaker; Jennie Tourel, mezzo-soprano) BERNSTEIN: Suites 1 and 2 from the Dybbuk (Leonard Bernstein, conductor; Paul Sperry, tenor; Bruce Fifer, bass- baritone) PROGRAM#: NYP 20-29 RELEASE DATE: April 8, 2020 American Works: Gershwin, Russo, Ellington, and Copland GERSHWIN: Porgy and Bess (selections) (recorded 1954) (André Kostelantetz, conductor) RUSSO: Symphony No. 2, “Titans” (recorded 1959) (Leonard Bernstein, conductor; Maynard Ferguson, trumpet) ELLINGTON/ Marsalis: A Tone Parallel to Harlem (recorded 1999) (Kurt Masur, conductor; Jazz at Lincoln Center Orchestra, Wynton Marsalis, artistic director & trumpet) COPLAND: The Tender Land (abridged) (recorded 1965) (Aaron Copland, conductor; Joy Clements, soprano; Claramae Turner, mezzo-soprano; Richard Cassilly, tenor; Richard Fredricks, baritone; Norman Treigle, bass; Choral Art Society, dir.
[Show full text]
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
[Show full text]
Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
[Show full text]
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
[Show full text]
Gran Gala Lirico Al Teatro Olimpico Premio Alla Carriera Al Baritono Juan Pons Madrina D'eccezione Katia Ricciarelli
Comunicato stampa Gran Gala Lirico al Teatro Olimpico premio alla carriera al baritono Juan Pons madrina d'eccezione Katia Ricciarelli Serata con le star della lirica al Teatro Olimpico giovedì 2 luglio per Vicenza in Lirica. Novità nel programma del festival è l'appuntamento al Teatro Olimpico che vedrà protagoniste vere star del mondo della lirica. Il festival lirico porta a Vicenza due nomi importanti del panorama lirico internazionale che hanno calcato i più celebri palcoscenici del mondo. La serata di gala è coronata dalla presenza di una madrina d'eccezione, il soprano Katia Ricciarelli,e da un'ospite di caratura internazionale, il baritono drammatico Juan Pons, riconosciuto come uno dei baritoni più importanti a livello mondiale. Due personaggi che attraverso la loro voce hanno portato il nome delle rispettive nazioni, l’Italia e la Spagna, nel mondo. Con l'occasione sarà consegnato, per la prima volta nella storia del festival, il premio alla carriera al baritono Juan Pons alla presenza della collega ed amica di sempre, il soprano Katia Ricciarelli. Il premio, fortemente voluto da Concetto Armonico, associazione culturale che ha ideato e realizza “Vicenza in Lirica” con la compartecipazione del Comune di Vicenza, verrà consegnato al celebre cantante, riconosciuto come uno dei migliori baritoni drammatici della nostra epoca, per il contributo artistico donato all'arte dell'Opera Lirica. Il premio sarà consegnato direttamente dal vicesindaco del Comune di Vicenza Jacopo Bulgarini d'Elci. Nella serata di gala non poteva mancare la grande musica lirica che sarà interpretata da due tra i vincitori del 69° Concorso “Comunità Europea” per Giovani Cantanti Lirici 2015 del Teatro Lirico Sperimentale di Spoleto “A.
[Show full text]
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
[Show full text]
~ Program Notes ~ VERDI
~ Program Notes ~ VERDI August 1, 2003, 8:30 PM Koussevitzky Music Shed Lenox, MA Rafael Frühbeck de Burgos, conductor Sondra Radvanovsky, soprano Yvonne Naef, mezzo-soprano Richard Leech, tenor John Relyea, bass-baritone Tanglewood Festival Chorus John Oliver, conductor VERDI Requiem Mass for four solo voices, chorus, and orchestra Giuseppe Verdi (1813-1901) Requiem Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni First performance: (original version) May 22, 1874, St. Mark’s, Milan, Verdi cond., with Teresa Stolz, Maria Waldmann, Giuseppe Capponi, and Ormondo Maini, vocal soloists, and an especially assembled chorus and orchestra; (with new “Liber scriptus”) May 15, 1875, Royal Albert Hall, London, Verdi cond., with Stolz, Waldmann, Angelo Masini, and Paolo Medini, vocal soloists. First BSO performances: December 1954, Guido Cantelli cond.; Herva Nelli, Claramae Turner, Eugene Conley, Nicola Moscona, vocal soloists; New England Conservatory Chorus, Lorna Cooke deVaron, cond. First Tanglewood performance: August 22, 1964, Erich Leinsdorf cond.; Lucine Amara, Lili Chookasian, George Shirley, Ezio Flagello, vocal soloists; Chorus Pro Musica, Alfred Nash Patterson, cond., assisted by the Festival Chorus. Most recent Tanglewood performance: August 27, 1995, Christoph Eschenbach cond..; Sharon Sweet, Florence Quivar, Michael Sylvester, Ferruccio Furlanetto, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Most recent BSO performances: September 2002 (to open the 2002-03 subscription season), Rafael Frühbeck de Burgos cond.; Barbara Frittoli, Larissa Diadkova, Giuseppe Sabbatini, Reinhard Hagen, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Few Americans know the name Alessandro Manzoni, and fewer still are familiar with his great historical novel, I promessi sposi (The Betrothed).
[Show full text]
MARIO DEL MONACO Mario Del Monaco Belongs
MARIO DEL MONACONACO – A CRITICAL APPROACH BY DANIELE GODOR, XII 2009 INTRODUCTION Mario del Monaco belongselongs to a group of singers whoho aare sacrosanct to many opera listeners.listene Too impressive are the existingexisti documents of his interpretationsations of Otello (no other tenor hasas momore recordings of the role of Otello than Del Monaco who claimed to haveha sung to role 427 times1), Radamdames, Cavaradossi, Samson, Don Josésé and so on. His technique is seenn as the non-plus-ultra by many singersgers aand fans: almost indefatigable – comparable to Lauritz Melchiorlchior in this regard –, with a solid twoo octaveocta register and capable of produciroducing beautiful, virile and ringing sound of great volume. His most importmportant teacher, Arturo Melocchi,, finallyfina became famous throughh DDel Monaco’s fame, and a new schoolscho was born: the so-called Melocchialocchians worked with the techniqueique of Melocchi and the bonus of the mostm well-established exponent of his technique – Mario del Monaco.naco. Del Monaco, the “Otello of the century”” and “the Verdi tenor” (Giancarlo del Monaco)2 is – as tthese attributes suggest – a singer almost above reproach and those critics, who pointed out someme of his shortcomings, were few. In the New York Times, the famous critic Olin Downes dubbed del MonacoM “the tenor of tenors” after del Monacoonaco’s debut as Andrea Chenier in New York.3 Forr manmany tenors, del Monaco was the great idoll and founder of a new tradition: On his CD issued by the Legato label, Lando Bartolini claims to bee a sinsinger “in the tradition of del Monaco”, and even Fabioabio ArmilA iato, who has a totally different type of voice,voi enjoys when his singing is put down to the “tradititradition of del Monaco”.4 Rodolfo Celletti however,wever, and in spite of his praise for Del Monaco’s “oddodd elelectrifying bit of phrasing”, recognized in DelDel MMonaco one of the 1 Chronologies suggest a much lower amount of performances.
[Show full text]
Madama Butterfly
GIACOMO PUCCINI madama butterfly conductor Opera in three acts Pier Giorgio Morandi Libretto by Giuseppe Giacosa and production Anthony Minghella Luigi Illica, based on the play by David Belasco director and choreographer Carolyn Choa Saturday, November 9, 2019 1:00–4:25 PM set designer Michael Levine costume designer Han Feng lighting designer Peter Mumford puppetry The production of Madama Butterflywas Blind Summit Theatre made possible by a generous gift from revival stage director Mercedes and Sid Bass Paula Williams The revival of this production is made possible by a gift from Barbara Augusta Teichert general manager Peter Gelb jeanette lerman-neubauer music director Co-production of the Metropolitan Opera, English Yannick Nézet-Séguin National Opera, and Lithuanian National Opera 2019–20 SEASON The 887th Metropolitan Opera performance of GIACOMO PUCCINI’S madama butterfly conductor Pier Giorgio Morandi in order of vocal appearance lt. b.f. pinkerton imperial commissioner Bruce Sledge Bradley Garvin goro the registr ar Tony Stevenson* Juhwan Lee suzuki the bonze Elizabeth DeShong Raymond Aceto* u.s. consul sharpless prince yamadori Paulo Szot Jeongcheol Cha cio -cio -san k ate pinkerton Hui He Megan Esther Grey** her rel atives: cousin cio - cio -san’s child Elizabeth Sciblo Kevin Augustine Tom Lee mother Jonothon Lyons Marie Te Hapuku uncle yakusidé ballet soloists Craig Montgomery Hsin-Ping Chang Andrew Robinson aunt Anne Nonnemacher Saturday, November 9, 2019, 1:00–4:25PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
[Show full text]
"Olluls ORIUII Wi LIJEFII]
6.661 ZIx<I 2/ "olluls ORIUII wi LIJEFII] d& # WEFM broadcasts the finest in transcribed and re- corded music for the pleasure and entertainment of music lovers in the Chicagoland area. This station operates on a frequency of 99.5 megacycles and maintains a daily schedule from 9:30 a.m. to 11:30 p.m. WEFM is owned by Zenith Radio Corporation and has been operated in the public interest for more than nine years. This is our program for April, 1949. If you wish to receive a copy each month for the coming year, send in two dollars with your name and address. For further program information, call ST ate 2-1357. Violet Kmety, Program Director (Program subject to change without notice) ZENITH RADIO STATION, WEFM, 135 S. LA SALLE, FIELD BUILDING, CHICAGO 3 Easter Program Notes Stabat Mater Giovanni Battista Pergolesi (1710-1736) During Lenten season and Holy Week, one of the most vivid ways of signifying the passion and crucifixion of the Saviour is through the liturgical ritual of the Catholic Church called the Stations of the Cross. This ritual includes fourteen stations or scenes which depict the events from the time Christ was condemned to death by Pilate to His burial in the sepulchre. In formal liturgy, between each of these stations or scenes, one verse of a hymn honoring the Mother of Christ as she stood at the foot of the cross, is sung. This hymn is called the Stabat Mater (There Stood the Mother). This tradition of singing the Stabat Mater is a very old one that probably had its origin in the 13th century, when one of the "tropes" or additions to the Alleluia opened with the words "Stabat Mater." The words of the original Latin poem are generally attributed to the 13th century Franciscan Jacopo da Todi, and the melody used was probably of a plainsong nature ( having one voice only, with no accompaniment) .
[Show full text]
The Life and Deaths of Maria Callas (Nov
1 Note: this article appeared on the occasion of the first commercial release of Callas's television appearances for home video The Life and Deaths of Maria Callas (Nov. 1995, The New Yorker) If only she hadn't gotten mixed up with Ari and Jackie, we would be less aware of Maria Callas's life after singing, and that would be better. Here was the most celebrated operatic soprano of the 20th century, unable to find peace or purpose in her 12 years of premature retirement and unable to rehabilitate herself as a performer, winding up an overmedicated recluse in Paris, a city that never knew her in her prime. By the time she died there in 1977, at 53, her career had long since ebbed into fitful and mostly unfulfilled comeback projects, and her fame -- the pure, resonant fame of noble achievement -- had long since been admixed with notoriety. The stormy, capricious diva who abandoned husband and stage for a seductive billionaire, only to be dumped in favor of a President's widow, attained to levels of name recognition that merely singing in opera could never have brought. Callas is remembered as Puccini's Tosca, the role in which she was best photographed, and since Tosca herself is a celebrated opera singer who gets into desperate straits, a reciprocal identification has proved irresistible. In "Harvey Milk" at the New York City Opera, whenever opera fandom as a cultural rallying force for gays is mentioned, one hears the opening chords of "Tosca" and sees an enormous blow-up of Callas.
[Show full text]