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...opera world's most tantalizing other shoe has finally dropped. The Paris Opera presented the first-ever full-length Lulu, third act and all. To Rolf Liebermann, the Paris Opéra's general director, it was the culmination of a 30-year quest. To Conductor Pierre Boulez, it was belated "justice to a work that has been mutilated." To the black-tie audience of statesmen, artistic leaders, 200 music critics and assorted opera buffs, it was a triumph and, to some, a perplexity...

Author: /time Magazine | Title: Music: Lulu Is the Toast of Paris | 3/12/1979 | See Source »

...triumph of the production was that it laid out the full span of Berg's intricate, marvelous score, seamlessly completed by Viennese Composer Friedrich Cerha. It was given an exhilarating performance by Boulez, with notably precise, transparent playing by the Paris Opera orchestra...

Author: /time Magazine | Title: Music: Lulu Is the Toast of Paris | 3/12/1979 | See Source »

Stravinsky: Pulcinella Suite, Scherzo Fantastique, Symphonies of Wind Instruments (Columbia). Wonderfully sharp Stravinsky from another incisive composer-conductor, Pierre Boulez...

Author: /time Magazine | Title: Music: YEAR'S BEST | 1/1/1979 | See Source »

...almost refused to perform at all; five minutes before the start the power failed briefly. Boulez himself introduced his Espace, which seats only about 400. The ceiling can be raised or lowered drastically. But the most riveting feature is the walls, which consist entirely of accoustical panels grouped in blocks of three. A whole wall can be flat, or any triad of panels can jut out, changing the sound. In fact they can all move at once. This phenomenon clearly had more impact than Boulez intended. The room seemed to sway, and a wail like a sea storm turned...

Author: /time Magazine | Title: Music: The Night the Walls Moved | 10/30/1978 | See Source »

...Boulez, to stand still is to fall back. "The people at IRCAM should be like children who always want to be fed. That is the relation I want between the musicians and the scientists." In addition to directing his staff of 53 and planning IRCAM'S future, he is working toward a May concert of his own. He regards his six years as music director of the New York Philharmonic as "a big parenthesis in my life," but adds, "I learned the practicalities of administration there. Without that experience I might not have been offered this job. I think...

Author: /time Magazine | Title: Music: The Night the Walls Moved | 10/30/1978 | See Source »

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