The N. C. Essay
REVIEW (oon’t from page 2)
Marah 17, 1970
THE RECOVERED
Decor was performed by John Ver-
nen; useful, attractive design and
props. Lighting was particularly im
pressive — workmanship of Ed Byers.
Sunsets and sunrises accompanying the
comings and goings of the soldier were
realistically beautiful and glowing.
Transitions were smooth.
Wat about the choreography? For
me, sometimes it fit— other times,
it didn't. Mr. Sanders created some
facinating movements for Rick, but
somehow, I was too aware of complex
dance movement, rather than enjoying
its smooth integration into the pro
duction as a whole. Perhaps the full
potential of the movement as dramatic
expression was not fully exploited.
The movements for Svea and Rick,
the princess and the soldier, togeth-
Opera Tosca Opens Frieay
(Cont. from page I)
beautifully colored and her phrases
were completely in control. She
created pathos and excitement with
her voice." The New York Post
added additional plaudits to her
presentation of Floria Tosca by
saying, "Throughout she sang with
sensitivity and color. Her float
ing, free high tones sky-rocketed
without strain Jeannine Grader
possesses a luscious soprano."
Metropolitan Opera star, Walter
Cassel will perform his famous role
of Baron Scarpia.
Walter Cassel is one of the
great singing actors of the present
day. His fine dark baritone, comm
anding figure, and polished style
of characterization (San Franaisao
Chroniale) has won him an inter
national reputation as an artist of
unique versatility and accomplish
ments.
Cassel's Scarpia in Tosaa has
long been considered definitive.
"The best portrayal of the role since
Scotti" said the Dallas Morning News
in singing the praises of Cassel.
When the Metropolitan Opera
moved to its new quarters in Lincoln
Center Walter Cassel's name was
prominent on the roster and he sang
such roles as Telramund in a new
production of Lohengrin, Oreste in
Elektra, Count Tomske in the Flying
Dutchman and many other roles.
He has appeared in almost every
leading opera company: Philadelphia,
Pittsburgh, Cincinnati, Portland,
Duluth, Seattle, New Orleans,
Houston, Tulsa, San Antonio, etc.
As a recording artist Mr.
Cassel appears in the complete
Moore opera, The Ballad of Baby Doe
as Horace Tabor, the role that he
created in the World Premier in
1956, (this recording in on MGM re
cords). Reig's Reverence for Life
(Epic), and Walton's Belshazza:r' s
Fest with Ormandy and the Phila
delphia Orchestra (Columbia).
Robert Moulson will perform the
tenor lead of Mario Cavaradossi in
Tosaa.
er, were danced tenderly, expres
sively, however. Svea was more
gentle and fresh than ever; charac
teristic of a true princess.
The devil, David Wood, natur
ally danced, Ijils way through the
show. As an actor, David has al
most a dancer's awareness of his
body — he moves naturally, in.-
stinctively,-and,he uses the body's
expressiveness. Leaps -- turns —
constant surprise!
It is good to see a choreo
grapher ambitious and imaginative
enough to'^direct a whole production
which Includes acting and narration
as well as dance and music. "Guys
and Dolls" is one style; "L'Histoire
is another. NCSA, with musicians,
dancers, singers, and actors, is in
many ways an ideal place to serious
ly play around with this sort of
mixed-media. .
(from the author)
Note: in an atmosphere pur
ported to be of serious artistic
endeavor, one would expect the
aspiring a:rtists to welcome cri
tical review of their work. Fa
vorable and unfavorable d'iticism
would he he met with one and the
same attitude^ an attitude of
respect for and'dedication to the
art. It is eqwxlly important
that the review he made with the
same dedication and respect. Per
sonal humility before the art is
valid.
A critical review must not be
written as a vehicle for personal
attack, nor should it he read as
such.
Moulson entere,d the University
of Georgia as a football scholarship
student. But it soon became evi
dent that his powerful physique and
beautiful tenor voice would combine
to make him an even greater star on
the operatic stage than on the grid
iron. He went on to study at the
New England Conservatory and later'
in New York with Frederick Jagel and
Samuel Margolis, and during this time
he was a finalist in the Metropolitan
Opera Auditions. His first pro
fessional engagements were in leading
roles with the Chautauqua Opera, the
New Orleans Opera and the New York
City Opera. Mr. Moulson then went to
Italy for a year of further study and
to become the First Medal winner of
the International Singing Contest
in Geneva. Returning to the United
States, he was engaged to sing
Rodolfo in La Boheme for a tour of
the Boston Opera Company.
Mr. Moulson returns frequently
to sing with the Cincinnati Summer
Opera, the opera companies in Pitts
burgh, Salt Lake City and Tulsa, and
the New York City Opera.
The San Francisco Examiner had
said of him: "Robert Moulson is a
big stalwart figure of a man, with a
grandly opulent tenor to match."
Page A
THE M.C. ESSAY STAFF
EDITOR ANTH)NY SENTER
Kaw Fitzgerald
Mike Ferguson
' ‘Sam Barcelona
Gwen Spears
Sandy Williams
ADVISOR Anthony Fragola
Happy Hills Concert
BY SAM STONE
(con't from page 1)
about explaining themselves as I have,
but they were fully aware that they
could share through art and that
their feeling for the people could
be translated through the universal
language of music. They were aware
as well that they could not hope to
communicate to many of the people
(some angry-and rejected) save through
their art, their most prized possess-
sion.
The audience was typical of
similar community centers - mostly
older men and women, more women than
men, and many more small children
than adults. Mid-way through the 45-
minute program, most of the audience
of 75 were seated. These people are
among our colsest neighbors, geograph-
cially speaking.
Your reporter is not qualified to
comment on the performance in
techinical terms, but in my opinion
the artists played with enthusiasm
and intensity. Four students of
Robert Listok;tl-n’,-Sam Sanger, Murray
Kaufman, Forestt Campbell and Roger
Quigley - played two clarinet pieces,
"Suite" by Paul A. Pisk and "Quartet"
by Seymour Barab.- Next David Tillman
on bassoon, joined clarinetists
Kaufman and Sanger for a W.A. Mozart
"Divertimento". The audience
reponded most graciously. We were
well received and I feel we fail
4oiTrs%4ya%^an'd thfe'^onftiunTty if we do
build upTO^lrt^8^-^malA|&rouhd1ftion.
BELLA LEWITSKY'TO TEACH HERE
(con’t from page 3)
In the mid-1930's, Hortcux was
ecouraged by "^ella lewTlzky and
another fine dancer in the
company, to strip away excessive
use of the trappings of theatre and
pageantry, and to clarify his
theatrical intentions and training
techniques.
Miss Lewitzky started teaching
and the techniques began to take
shape^ Where Horton was inspired
but often vague in his direction,
she prodded for order and clarifi
cation. In the sparks that flew
between his wealth of creativity and
her need for form, a splendid
technique evolved."