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...article on Bing was great, but it didn't make me (or any other contemporary composer) love him any better. He is as much a museum piece as the Establishment he represents. His choice of American composers (Barber, for example) certainly doesn't place him too far out on the limb...

Author: /time Magazine | Title: Letters: Sep. 30, 1966 | 9/30/1966 | See Source »

...sharper than a barber's shears! As proprietor of three fancy salons in London, Hairstylist Vidal Sassoon, 38, has coiffed some of the world's most elegant women, and for the past 16 months he's been practicing his art in a Manhattan shop as well. Trouble is, New York State requires a license for that sort of thing, and it wants him to take its hairdresser exam. "Asinine and obsolete," said Sassoon. "The test requires that I do finger waving and reverse pin curling-things that haven't been used since Gloria Swanson...

Author: /time Magazine | Title: People: Sep. 30, 1966 | 9/30/1966 | See Source »

...christen the offspring, Bing had scheduled the world premiere of Samuel Barber's Antony and Cleopatra. Never was a musical event launched in such a tide of pageantry and publicity...

Author: /time Magazine | Title: Opera: Lord of the Manor | 9/23/1966 | See Source »

...that she looked like a junior-sized pyramid herself; it was a wonder that she eould sing at all, though sing she did, and her burnished voice never sounded better. At the top of their form, too, were Basso Justino Diaz as Antony and Tenor Thomas as Caesar. Composer Barber's setting for Shakespeare's text was notable chiefly for an orchestration built of conflict ing clouds of moody, often eerie thun-derbursts of sound, punctuated with enough jutting exclamations of dissonance to label it contemporary, and Conductor Thomas Schippers gave it all the fierce sweep...

Author: /time Magazine | Title: Opera: Lord of the Manor | 9/23/1966 | See Source »

Machine-Gunning the House. In the area of repertory, Bing's record at the old Met speaks for itself: 50 new productions, three U.S. premieres (Stravinsky's The Rake's Progress, Strauss's Arabella, Menotti's The Last Savage), and one world premiere (Barber's Vanessa). His own taste favors Italian opera; he is only lukewarm about Wagner and, with a few exceptions, indifferent to modern. Compared with Milan's La Scala or West Berlin's opera, whose repertories are laced with contemporary works, the Met, as one critic puts it, "remains...

Author: /time Magazine | Title: Opera: Lord of the Manor | 9/23/1966 | See Source »

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