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...money into the Institute, has the full backing of many artists in his bid to gain the rights to make authorized one-copy-only tapes of live performances. "What wouldn't we give," says Striker, "to hear Paganini play his Caprices, or Malibran sing Bellini? The next generation may be as critical of us if we neglect to fully preserve the great music...

Author: /time Magazine | Title: Concerts: Sound, Preserved & Pirated | 11/19/1965 | See Source »

...drama with its choruses and chanted poetry. From the first, the creators of opera felt the urge to avoid artifice. Christoph Willibald Gluck (1714-87) said that it was silly not to have "realistic" characters in opera-so he created Orfeo and Euridice, with their set, face-front arias. Bellini (1801-35) and Donizetti (1797-1848) thought Gluck's characters were insufficiently real-so they created the stylized Norma and Lucia. Wagner (1813-83) avowed the same sentiment-and created Lohengrin and his swan. Puccini (1858-1924) proclaimed a brand of truthfulness he called verismo -and created Turandot...

Author: /time Magazine | Title: Essay: OPERA: Con Amore | 10/8/1965 | See Source »

...opera's first production was almost as heavy with intrigue as Wagner's plot. Though the composer grandly pronounced Tristan "the greatest musical drama of all time," opera houses in Dresden, Berlin, Vienna and Munich rejected it as "unperformable." Moreover, to a public reared on Rossini, Bellini, Donizetti and Meyerbeer, most of Wagner's works seemed to be joyless monstrosities...

Author: /time Magazine | Title: Opera: Richard und Ludwig | 6/18/1965 | See Source »

...magnificent Cézanne still life that seems to tilt a plate of cherries into the viewer's mouth, is brought together to demonstrate one of the museum's strengths. Great Renaissance paintings, still in short supply despite loans of Botticellis, Van Dycks, and an individual Bellini, Giorgione and Canaletto from the Norton Simon Foundation, share space with Andrea di Orcagna's incomparable trecento marbles of musicians with musette, timbrel and zither, like pearly leprechauns playing away the centuries...

Author: /time Magazine | Title: Museums: Temple on the Tar Pits | 4/2/1965 | See Source »

When Mezzo-Soprano Marilyn Horne made her New York debut in Bellini's Beatrice di Tenda four years ago, the critics were rapturous in their praise-for Joan Sutherland, the celebrated coloratura who also happened to be making her New York debut that night in the title role. Poor Marilyn was completely submerged in the flood of acclaim for Sutherland. The reviewer for the New York Times neglected to mention that she was even present, much less accounted...

Author: /time Magazine | Title: Opera: Out of the Shade | 2/19/1965 | See Source »

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