Word: austrian
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Dates: during 1950-1959
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...Monat family took the 11:32 p.m. Warsaw-Vienna express, sped through southern Poland and Czechoslovakia during the night, entered Austria at the tiny border town of Bernhardsthal. Since the Monats were traveling on diplomatic passports, Austrian customs of cials merely passed them by. Arriving at Vienna's East Station at 2:50 the next afternoon, the Monats had ten hours to kill before their train departed for Yugoslavia. Some time in that ten hours, they vanished...
...took a while for the Polish intelligence service to react. Then discreet inquiries began to be made. The Yugoslavs reported that the Monats had never reached Belgrade. Austrian authorities professed total ignorance. Thoroughly alarmed at last, Poland sent hordes of agents converging on Vienna from Warsaw, London and Paris, ostensibly to attend the Communist Youth Festival there. They began prowling the cafes and clubs frequented by anti-Communist Polish emigrés. There was no trace of the colonel...
...typical operetta mixture of farce and romance. Unfortunately, Director Ritchard and his cast could not quite make up their minds whether they were working for laughs or for sentiment. And for reasons best known to himself, Translator Valency had his Hungarians rising in a patriotic revolt against Austrian oppression (the 74-year-old original involved merely a musical-comedy war against Spain...
...Whatever their merits, none seemed more certain to turn into a hot ticket than the new Rodgers and Hammerstein musical, The Sound of Music. A sentimental evening with the famous Trapp family of singers, the show tells the story of Maria Rainer (Mary Martin), the young postulant from an Austrian convent, whose love for a widower, Captain Georg von Trapp (Theodore Bikel), and his seven children displaces her desire to become a nun. As one theatergoer summed it up: "Nellie Forbush in The Nun's Story." The advance sale has already passed...
...Harbison and the orchestra appeared to be most at their ease in the lively outer movements, where their energy and exuberance made an especially happy effect; the Andante seemed a bit pallid. But in the Allegro and the concluding "La Tempesta" (Haydn's cloudburst is Austrian naivete and gentility compared with Vivaldi's) they produced a sound richer and larger than the orchestra's numbers suggest. An even bigger sound could be heard in the substantial D minor piano concerto of Bach, in which the sonority of the opening unison belied the fact that the forces involved really amounted...