"Solo" Quotes from Famous Books
 ... followed by other clever impersonations and by more solo dances of blanketed Indians. All the dances, the White Chief told Ellen, were taken from the movements of the wild things of the North—the slinking of the fox across the tundra, the leaping of the King ...
— Where the Sun Swings North • Barrett Willoughby
... of Fannie's voice proved of much more importance than any of the girls had foreseen. Evelin Hatfield, who had a very clear soprano voice, and who had been cast for the solo parts in the concert, came down with tonsilitis and had to go to the Infirmary. The Seniors met in English room to discuss finding a substitute, after Miss King had assured them that there was no ...
— Polly's Senior Year at Boarding School • Dorothy Whitehill
... human angels, the sweet sisters of charity, while I went forth to make a home for you. My voice, as is sometimes the case, was richer, stronger and of greater compass after I had passed through maternity. I accepted a position with a travelling theatrical company, where I was to sing a solo in one act. My success was not phenomenal, but it WAS success nevertheless. I followed this life for three years, seeing you only at intervals. Then the consciousness came to me that without long and profound study I could never achieve more than a ...
— An Ambitious Man • Ella Wheeler Wilcox
... pride in his genius, the same sympathy with the Genius that governs his, the old love with the old limitations, though love and limitation be all untold. And I see well what a piece of Providence he is, how material he is to the times, which must always have a solo Soprano to balance the roar of the Orchestra. The solo sings the theme; the orchestra roars antagonistically but follows.—And have I not put him into my Chapter of "English Spiritual Tendencies," with all ...
— The Correspondence of Thomas Carlyle and Ralph Waldo Emerson, 1834-1872, Vol II. • Thomas Carlyle and Ralph Waldo Emerson
... foundation of the modern opera. Poetically it was the superior of any lyric work, except perhaps those of Metastasio. Musically it was radically different in character from the opera, as it was from the liturgical drama. But none the less it contained some of the germs of the modern opera. It had its solo, its chorus and its ballet.[12] But while the characters of these were almost as clearly defined as they are in Gluck's "Orfeo," their musical basis, as we shall see, was altogether different. Nevertheless it was distinctly lyric and secular and was therefore as near the spirit ...
— Some Forerunners of Italian Opera • William James Henderson
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