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VERDI: FOUR SACRED PIECES (Angel). Just before he wrote Falstaff at 79, Verdi composed the Ave Maria and Laudi alia Vergine Maria; he finished the Te Deum and Stabat Mater at 83. Together they make a magnificent and devout peroration to the lifework of a man who was a freethinker in his youth. The Te Deum includes a most urgent prayer, and Verdi asked that the music be buried with him. Carlo Maria Giulini leads the Philharmonia Orchestra and Chorus (240 voices) in a stereophonic recording that matches the soaring splendor of the music...

Author: /time Magazine | Title: Television: Jun. 12, 1964 | 6/12/1964 | See Source »

...ever more inescapable in modern-day Argentina. Statues of Garibaldi, Mazzini, and Columbus populate large urban plazas. Street names run from "Venecia" and "Milán" to "José Verdi" and "Arturo Toscanini." Newsstands are thick with Italian magazines, bars flow with Campari, coffee shops with café alia italiana, and restaurateurs serve up steaming hot pizzas, ravioli and pasta frolla-even if they cannot always spell the names. Argentine men favor Italian-style stovepipe trousers and moccasins; many women are forsaking French styles for designers like Simonetta and Pucci...

Author: /time Magazine | Title: Argentina: The Italian Way | 11/15/1963 | See Source »

Indeed, it is precisely in the realm of classical liberal propositions that I find the most curious omissions from most of the discussion on the Afro-American Association in the CRIMSON'S pages. Essential among these propositions is some notion of pluralism, which means, inter alia, that far from being an undesirable feature of liberal society, particularly associational behavior is the sine qua non of such society. 18th and 19th century nationalisms in Europe were inspired by particularistic norms and forces, and the progress they secured via the destruction of outmoded empire-states was related to these norms. One could...

Author: NO WRITER ATTRIBUTED | Title: The Mail: Afro-American Club | 5/17/1963 | See Source »

...serves as the hero's guardian, glassily indifferent to the vast icon of Christ that looms behind him, replies: "Eat or be eaten. That is the law of life." Unable to accept such a law, unable to find a better one, unable to love a good woman (Alia Labetskaya), the hero plunges into dissipation. At the climax the wicked guardian orders the young man certified insane, and at the end the hero stands in the breadline of the poorhouse his own father founded...

Author: /time Magazine | Title: Cinema: Polyglut | 11/10/1961 | See Source »

...bathed in a ghostly aquamarine light to evoke the haunting, elusive beauty of the lake and its enchanted bird-women. But it was the dancing that the audience came to see, and the dancing overshadowed everything else. Before the performance was well under way, a lithe, vivacious ballerina named Alia Sizova stopped the show with her lyrical dancing in the pas de trois of Act I. Sweltering balletomanes interrupted a dozen more times to applaud Alexander Pavlovsky's nimble jester, the ethereal cygnets of Act II, the despairing swans of the finale. In the difficult dual role of Odette...

Author: /time Magazine | Title: Music: Nijinsky's Heirs | 9/22/1961 | See Source »

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