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Show A5 ROCKY MOUNTAIN REVIEW. JuU PERFORMING ARTS 1. 1965 tram Aida All Wet RETROSPECT The U. of U.s 18th annual Summer Festival went on the Stadium Bowl boards Monday night with a colorful performance both - of Vereye- - and ear-widi's AIDA". Scheduled to open the previous Saturday, AIDA was moved ahead due to rain. According to festival executive director, Dr Keith M. Engar, choreographer Wiliam Christensen offered to go ahead with an underwater ballet;" maestro Abravanel suggested se Handels "Water Music;" while Dr. Engar termed both gentlemen all wet," as he informed his equally wet audience of the postponement. Two nights later stage director H. E. D. Redford, wired for sound and snug in the sound booth, ordered house-ligh- ts out. The spotlight hit Ardean Watts who gave the down-befrom his key podium post, and we were off to the races chariot, that at is. in the presence of Watts and Redford was the absence of masestro Abravanel and Dr. C. Lowell the first such openLees ing night in festival history. Implicit messrs. r g com- n, The third member of the directorial on cake. Genuine heightening of the production's quality was evidenced in each appearance of the dancers as they responded to the Christensen touch, in this instance, stylized Egyptian. The Abravanel touch also had its impact; for Ardean Watts has been his protege and the right arm throughout recent festival history. He has served his apprenticship and the maestro faithfully and brilliantly, and when the oppnr- - i Save on Checking Accounts king-siz- ot six-fo- ia ing Safe! Their male coue Robert Moulson (Radames) and Abe Polakoff (Amonasro) performed creditably but with little excitement. Mr Moul-so-a six giant with a rather light voice, sang in true bel canto style but seemed to tire in the last act. Mr. Polaknff was more matically nterparts, mitments in Santa Barbara, Dr Lees, prime mover of the festival and its immediate predecessor, the Centennial year production of PROMISED VALLEY," left the University one year ago for a position in southern Californtriumvirate, choreographer Wiliam Christensen, was decidedly present. As always, his brilliant corps of dancers provided the frost- FOUNDATIONS Heading the cast w as a quartet of American vocal artists The two on the distaff side, Maria Fernero (Aida) and Frances Bible (Amneris) pretty well had things their way, both vocally and dra- adelphia Orchestra Tuesday and Thursday at Robin Hood summer-lon- MID-YEA- R Monday The maestro was slated to conduct only the first night because of guest conducting engagements with the PhilDell and DURHAM LOWELL particularly y, stage-worth- his encounter with Aida the third act. this time, rain tunity arose he was ready to go. And He was the hub go he did. around which the performance revolved. Except for a few tentative moments in Act III during thinly scored passages, he had everything under conThe first two acts, trol. particularly saw both on -- stage and performers and off-sta- ge pit musicians meshing gears with precision and professionalism. Interestingly enough, offstage chorus was much better synchronized with conductor's beat than were singers; this, because of an Engar closed circuit innovation television connecting podium with chorus. Much sweat has been generated through the years by conducoff-sta- ge tors and performHenceforth, no such ers. off-sta- ge exertion. is more a pageant than a dramatic piece per se. Mr. Redford conceived it accordingly and, aided by the colorful costumery of Sereta Jones and functional set (though not nearly so specset tacular as the four-lev- el of 1954 s AIDA by Vern Adix, brought off some effective AIDA friezes. Novel were the horse-draw- n which circled the stadium track, followed by a band of spear -- carriers who may chariots have been victorious Egyptian warriors but who were rhythThe delinquent. mically horses needed a few colorful trappings to fit more appropriately into the picture. The pageantry reached its zenith in the closing scene of Act II when the entire cast tra) of 200 (including orchesgot into the act to the tune of some of Verdis best the spectacle scoring r SAVE 10 to 34 The two female stars battled for top honors. MissFer-rier- o, a relative newcomer to professional opera, was vocally brilliant throughout. Miss Bible (Octavian in the Festivals 1954 Rosenkav-alier- ), veteran of many operatic wars, shone by sheer weight of the Amneris role although out done vocally, by her rival for Radamer. The imported stars met their equals in two local artists Jack Whitaker (King of Egypt) and Warren Wood (High Priest), both of whom came off well as singing-actor- s. Furthermore, each enunciated the Kings English with a clarity too often missing in this genre. Larry' Mueller and Gwen Garrard appeared in minor roles. chorus was The one of the best in Festival history -- - and Verdi affords them considerable opportunity in first two acts. Fortydanc-er- s filled the huge outdoor stage amply and with grace and style. the festival Sound -- wise, still use the equipment built originally for 1947s PromIt should be ised Valley. and in such a updated way as to allow for stage to be moved closer to audience. Then, too, a musical ear should be added to existing in the technical know-ho- w sound booth. The abandonment of the track directly in front of the stage by the over-sizof past managers box years (and now limited to a dozen seats) eliminates a lisa T. : T r- -' & ; njP; .f. foundations solo . . salad from thoso top soiling brands and stylos Mid-ya- ri caste-syste- reg. S3.95, lace bra 71-reg. SI 1, long leg panty girdle reg. 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