Word: bizet
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...signed a contract with Columbia to make four records a year until 1982, when he will be 100. He has already taped some Tchaikovsky for Columbia and an album of his own transcriptions of Bach and Chopin. Last week's session with the National Philharmonic was devoted to Bizet's Carmen Suite. It is a work familiar to both conductor and orchestra, but still excitement ran high. Stokowski's fabled white mane is now a bit thin and shaggy, but the long, tapered hands still work their expressive magic. So does his pinpointing look. "One conducts with...
...members strong, the Met flew to Japan for a three-week visit. The company brought along stars like Joan Sutherland, Marilyn Home, Adriana Maliponte, Luciano Pavarotti, Franco Corelli and John Alexander, and three of the most popular works in its repertory: Puccini's La Bohème, Bizet's Carmen and Verdi's La Traviata. The stand began with Traviata at Tokyo's 4,000-seat NHK (Nippon Hoso Kyokai, or Japan Broadcasting Corp.) Hall. With Soprano Sutherland dying rapturously as Violetta and Tenor Alexander showing a cad's remorse as Alfredo...
...Bizet and Bach. The notion of a tour came from Kazuko Hillyer, a Japanese-born concert manager based in New York. When she put the idea to General Manager Schuyler Chapin two years ago, he replied: "Go away and don't bother me. That will cost millions." It did cost that, $2.5 million to be precise, but Hillyer found someone to pick up the tab: the Nagoya-based Chubu Nippon Broadcasting Co., which decided to sponsor the tour in honor of its 25th anniversary...
...Japanese understand and enjoy Verdi, Puccini and Bizet? By and large, yes. Reflects Tokyo Music Critic Shigeo Kimura: "The mode of life here is one .of great variety. It is very international. The people may go to bed in a Japanese fashion, but the question when they get up is: Do they consider themselves Asiatics?" Aurally at least, the answer seems to be no. In the elevators of Tokyo's hotels, the canned music is not the koto, but usually Chopin or Bach. Traditional Japanese music survives in the Kabuki and No theaters but in few other places...
Sensual Fire. Plisetskaya's Odette is all shimmering ice; her Carmen is sensual fire. By and large, this version of the Prosper Mérimée story is downright ludicrous. Set to a percussive rehash of Bizet melodies (some from Carmen, some not), the choreography by Cuba's Alberto Alonso must have seemed madly daring when it was first shown in Moscow seven years ago. In fact, it is full of dated psychological posturings. Moreover, despite strong dancing by blond young (24) Aleksander Godunov, one of Plisetskaya's favorite partners, and Sergei Radchenko, the roles...