Question: Buzzi was born at Westerly Hospital, Westerly, Rhode Island, the daughter of Rena Pauline and Angelo Peter Buzzi, a nationally recognized stone sculptor. She was raised in Wequetequock, Connecticut, in a rock house overlooking the ocean at Wequetequock Cove, where her father owned Buzzi Memorials, a business still operated by her older brother, Harold. Her father was born in Arzo, Switzerland, in the Italian-speaking canton of Ticino. He carved the marble eagles at Penn Station in New York, the granite Leif Erikson memorial in Providence, Rhode Island, the animals seen in relief on the American Museum of Natural History in New York City, and made thousands of tombstones.

Before graduation from college, Buzzi was already a working actress with a union card in musical and comedy revues. Her first job in show business was at 19, traveling with singer Rudy Vallee in a live musical and comedy act during her summer break from college; it allowed her to graduate with a treasured union card with Actors' Equity Association. She moved to New York City after graduation and was hired immediately for a lead role in an off-Broadway musical revue, the first of 19 in which she performed across the East Coast. In musical and comedy revues from Provincetown, Massachusetts, to the Catskills of New York, to off-Broadway, she worked alongside other young, talented performers just beginning their careers at the time, including Barbra Streisand, Joan Rivers, Dom DeLuise, Bernadette Peters and Carol Burnett. Buzzi performed in New York musical variety shows, and she made numerous television commercials, some of which won national awards including the Clio Award. Her first national recognition on television came on The Garry Moore Show in 1964, just after Carol Burnett was replaced by Dorothy Loudon on the series. Buzzi saw her first taste of national fame as "Shagundala the Silent", a bumbling magician's assistant to her comedy partner Dom DeLuise who played "Dominic the Great". Buzzi was a member of the regular repertory company on the CBS variety show The Entertainers (1964-65). In 1966-67, Buzzi appeared in Sweet Charity, with Fosse's wife, Gwen Verdon, in the original cast. She had several small roles, one of them "the Singing Fairy".

Using a quote from the above article, answer the following question: Is there anything else that was interesting about the article?
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Answer: She had several small roles, one of them "the Singing Fairy".

Question: Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading artist at the Metropolitan Opera. One critic characterized Price's voice as "vibrant", "soaring" and "a Price beyond pearls", as well as "genuinely buttery, carefully produced but firmly under control", with phrases that "took on a seductive sinuousness." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortlessly soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the roles of Giuseppe Verdi and Giacomo Puccini, as well as several in operas by Wolfgang Amadeus Mozart.

Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. The role of Cleopatra was written especially for Price. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top. In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) The pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew. Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene). The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.

Using a quote from the above article, answer the following question: What did Price say about revision?
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Answer:
Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded.