Marni Nixon News
American singer and actress (1930-2016)
- light soprano
- United States of America
- opera singer, music teacher, actor, stage actor, ghost singer
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2024-04-23
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The Boston Musical Intelligencer
2023-09-16 21:24:53
Just Arrived on the Shelves
[…] known for years, but previously unrecorded, and in some cases unpublished in score. The legend is that all of Webern’s works for orchestra, from the Passacaglia, op. 1, through the Six Pieces, op. 6, to the final Cantatas opp. 29 and 31, were recorded in just two hours of leftover time from Stravinsky recording sessions. Webern's many songs (opp. 3, 4, 8, 12-19, 23, and 25) were divvied up by sopranos Grace-Lynne Martin and Marni Nixon* (suppressed as and later famous as the singing voices of Audrey Hepburn, Deborah Kerr, Natalie Wood, Jeanne Crain and Marilyn Monroe), whose pitch accuracy Craft once described as “better than violin.” Another essential part of the Webern legend is that Craft’s four-LP set was the best-selling multiple-disc classical album ever, though it hardly seemed credible even in the early 1960s, when I heard the story from Milton Babbitt. Craft is well remembered as the […]
2022-10-25 10:10:58
Featuring iconic speeches from Churchill and Nixon among others, 'Soundscape of a Century' forms part of the BBC centenary celebrations on Radio 3
2022-09-28 04:00:44
‘Last Days’, the Royal Opera’s world premiere, draws on the life of the late Nirvana frontman
2022-07-30 07:28:00
Little Women & after: I chat to composer Mark Adamo about the UK premiere of his opera & more
[…] too many people believed in him as a composer.When the call came about writing an opera on Little Women he felt that he could use all his musical and theatrical training. Little Women was initially planned for a company in Washington, this did not happen and Houston Grand Opera became interested. This threw him into a panic; this was heavy stuff, Houston had commissioned both Bernstein's A Quiet Place (premiered in 1983) and John Adams' Nixon in China (premiered in 1987). But he felt that he had to try and, as he wryly comments, 'here we are'. One of his solaces was that no opera company was likely to reject a libretto as too theatrical, and there was no ceiling for his creativity as he was using trained voices and an acoustic orchestra. He was able to write musical theatre in a way that he never could in the straight theatre, […]
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