Word: aspens
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Dates: during 1970-1979
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...chair. It is time for another British soap opera from Masterpiece Theater. Appropriately, this sad tale of the dangers of love, taken from a novel by the late H.E. Bates, begins its run on the first day of autumn and continues through the sea son, ending Dec. 9. Lydia Aspen (Mel Martin) is a beautiful young heiress who comes to Aspen House on the death of her father in 1929. Three middle-class youths from the town, a factory center in the Midlands, fall in love with her. Two of them find the attraction fatal, but the third lives...
...wife's urging, I recently went into a discotheque in Aspen. I can tell you I felt the generation gap greatly there," he said...
...only Dr. Johnson could have been in the Colorado Rockies last week. The Aspen Music Festival put on an exotic and deliberately irrational entertainment in which clowns, jugglers and acrobats capered across the stage. Flames shot up from nowhere. Flowers sprouted suddenly in a spittoon. A chorus stalked the aisles chanting a pitch for patent medicine. The hero was played by no less than three performers-a singer, a dancer and a magician. Before a note was even heard, the magician was hanging by his feet high over the stage, wriggling free of a straitjacket...
...called a postserialist. Having explored the twelve-tone system in earlier compositions, he now works in a freely eclectic vein, yielding at times to the "tonal nostalgia" that Robert Craft pointed out in Alban Berg's music, at other times borrowing the jazzy strains of theater music. At Aspen, his pounding rhythms generated a powerful momentum and his thickly massed sonoraties built to sharp climaxes, especially in the big choral scenes. His solo vocal passages and more lyrical moments, however, seemed to lack a distinctive melodic contour...
...creating his role in the Amsterdam production, and the experience showed in his secure, if rather monochromatic, performance. Other major roles were ably filled by Rita Shane as Houdini's mother, John Brandstetter as his manager and Viviane Thomas as Bess. Conductor Richard Dufallo, who heads Aspen's annual Conference on Contemporary Music (at which Schat is one of this year's composers-in-residence), had the work firmly in hand. His youthful chorus and orchestra managed most of the score's difficulties, though without making them sound any less difficult...