Word: acterized
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...textile merchant, he attended Juilliard, every Saturday afternoon trudged up to the balcony of the Metropolitan Opera to listen to how the professionals did it. Although he has been composing vocal works ever since his Curtis Institute days, Kastle attempted only one adult opera before Deseret-a one-acter titled The Swing, having to do with a bride's premarital jitters. He is now at work on another opera on an American theme, laid in the 1700s. Like his other efforts, it will be resolutely melodic. "I have always felt free," says he, "to use a C major chord...
...greatest opera composers. In Germany the modernists use the voice as another instrument, seldom giving importance to the word. Italians want to under stand what's going on." The biggest hit of the festival last week was the world première of a 143-year-old one-acter titled Pygmalion, composed not by a modern twelve-toner but by a talented local boy named Gaetano Donizetti. Written in 1817, when Donizetti was 19, the forgotten opera was rediscovered by Missiroli in an orchestrated version in a box of manuscripts found in Donizetti's house in Bergamo. Equipped...
...play produced professionally for the first time in the U.S.; The Balcony, Jean Genet's mordant and amusingly symbolic study of politics in a brothel; The Connection, a plotless, devastatingly naturalistic, jazz-counterpointed evening with a collection of junkies; Krapp's Last Tape, a one-actor one-acter by Samuel Beckett, throwing a man's youth into the face of his age, produced on a twin bill with The Zoo Story, in which two men from opposite ends of the social spectrum conduct a dialogue that ends in a curious twist of a switchblade...
Undramatic though the play is, the final trouble lies less with subject matter than with form. Had Silent Night been not a full play but a longish one-acter, it might have had a special appeal. It could, just long and lyrically enough, have chronicled a meeting and sustained a mood-and with no tossed-in newlyweds, no shaky final scene. Unfortunately, as a one-acter it would not fit the Broadway scheme of things, though as a full-length play it scarcely fits it either...
...such debts with his good friend, Pietro Mascagni (Cavalleria Rusticana) that the two of them got a map and inked out in red the sections of the city they could not walk through for fear of meeting creditors. Puccini scored a critical success with his first opera, a one-acter entitled Le Villi, but he did not win a large following until at 34 he collaborated with his two most successful librettists, Giuseppe Giacosa and Luigi Illica, to produce Manon Lescaut. After that his popular success was secure...