51�Թ�

Ms. Aldana has a dry but limpid sound on tenor and an expressive command that stretches into an altissimo register.

There were free-improvised solos, altissimo saxophone squeals and loud, surging sections, but nothing became chaotic; a sense of space and order subsumed everything else.

Then there is a story of Corelli’s coming to grief over a passage in Handel’s overture to Il Trionfo del tempo, in which the violins went up to A in altissimo.

Here her voice soon became a great attraction owing to its extraordinary purity, force, and compass, which extended to G in altissimo.

The great merits of her voice lie in her staccato effects, chromatic runs,—which she gives with great purity,—and notes in altissimo.