Word: angeles
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
SATIE: PIANO MUSIC VOL. 2 (Angel). Back in the days of Dada, Erik Satie wrote music scored for typewriters, airplane propellers, Morse tickers and lottery wheels. A Montmartre cabaret pianist, he was also a serious composer, puncturing the overblown romanticism of his time by turning out short wry works with such titles as Veritable Flabby Preludes (for a Dog), Disagreeable Sketches, and Chapters Turned Every Which Way. His 50-year-old tidbits still sound fresh and impudent, and are enjoying something of a vogue, due partly to their crisp presentation by Aldo Ciccolini...
VERDI: ATDA (Angel; 3 LPs). Who can be nostalgic for the Golden Age while singers like Franco Corelli and Birgit Nilsson are around? Both are near legends-though they are still in their prime. Both have very big voices. And both sing as if they were competing for top billing-which of course they are. Whether Verdi envisaged his heroic opera the way Nilsson and Corelli do it is another question. In any case, the rest of the cast is well-nigh unnoticeable behind all that star sound, and Zubin Mehta's conducting is efficient but not especially revealing...
JACQUELINE DU PRÉ: HAYDN'S CELLO CONCERTO IN C and BOCCHERINI'S CELLO CONCERTO IN B FLAT (Angel). Israeli Daniel Barenboim has earned a reputation as a first-rank pianist, and his British wife Jacqueline du Pre has won an equally enthusiastic following for her accomplishments with the cello. Neither is shy about displaying virtuosity, and this disk demonstrates that Mr. Barenboim is master of his house even on the concert stage, for he conducts his wife and the English Chamber Orchestra into the crystal world of Haydn and Boccherini with great aplomb. Jacqueline is so absorbed...
...Angel Street alias Gaslight were not the stuff of legend, it might be the stuff of successful Loeb shows; but workmanlike and entertaining as George Hamlin's production is, it reveals little in Patrick Hamilton's 30-year-old melodrama besides the all-too-familiar story. Conceivably aware of this, director Hamlin has inserted into the prgoram a defense of the play on historical grounds, claiming that Angel Street made melodrama "respectable" through substitution of psychological motive for coincidental fate. Suspend all criticism of Hamilton's Freudian prowess, and the defense triumphs. But there is a further pitfall, an arguable...
...Hamlin's credit, he has not reached. His staging of Angel Street adheres to the liner notes, emphasizing Mrs. Manningham's dispersed mind and its pendulum swings back and forth between her husband, who seeks to drive her mad, and Rough, the detective who sets her free. Most interestingly, at the play's finish Mrs. Manningham's future sanity is left questionable when only a slight gratuity on the part of the director--a laugh, even a smile--would suffice to set the audience easy. It is an honest production, if a bland one, what a repertory company of poorly...