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...unknown. This was largely because she had made only one recording, and because she refuses to confine her repertory to her most flattering roles. At 32, she has already mastered a remarkable 46 roles-ranging from the Italian war horses to the starkly modern works of Nono, Berg and Stravinsky. Now the hottest new property on the opera circuit, she is scheduled to perform some seven roles in the U.S. over the next four months. This week she will make her debut with the Metropolitan Opera as Marguerite in Gounod's Faust...

Author: /time Magazine | Title: Opera: Big Find | 12/24/1965 | See Source »

Goldberg, taking the second half kickoff at his own four yard line, sprinted 96 yards up the middle to paydirt. Quarterback Pete Berg passed to end Chris ceiver -- for a two-point conversion...

Author: By Boisfeuillet JONES Jr., (SPECIAL TO THE CRIMSON) | Title: Crimson JV's Beat Yale; Goldberg Scores in Third | 11/20/1965 | See Source »

Yale struck back as end Mark Young bobbled but held onto a 40-yard touchdown strike to make it 14-13. After the kickoff Harvard extended its slim lead by marching 59 yards on the ground in three minutes. Goldberg, Hicks, and Berg carried most of the way, with Goldberg scooting for he touchdown from he four yardline...

Author: By Boisfeuillet JONES Jr., (SPECIAL TO THE CRIMSON) | Title: Crimson JV's Beat Yale; Goldberg Scores in Third | 11/20/1965 | See Source »

After guard Tim Burke partially blocked a Yale punt at midfield, Harvard was once again on the move. Marshall and Strandemo moved the ball to the Eli 38-yard line, where Berg, on a third-and-18 situation, passed to Strandemo at the ten-yard strike as the third period ended...

Author: By Boisfeuillet JONES Jr., (SPECIAL TO THE CRIMSON) | Title: Crimson JV's Beat Yale; Goldberg Scores in Third | 11/20/1965 | See Source »

...Alban Berg's fine scores, expressively terse and textually dense, always pose the initial problem of hearing all that is essential. In the Violin Concerto, this dilemma assumes near-fatal proportions. The solo instrument is integrated into a large Wagnerian orchestra, which it must dominate with music marked mezzo-piano (or softer) seventy-five per cent of the time! Now Berg was no fool; the orchestra's dynamics are determined accordingly. But no orchestra can or will play continually softly, and the HRO proved no exception. The resulting acoustical imbalance seriously challenged the considerable prowess of violinist Charles Castleman...

Author: By Jeffrey B. Cobb, | Title: Harvard-Radcliffe Orchestra | 11/15/1965 | See Source »

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