Word: bucci
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...submitted works. Among the composers represented were such veterans as Douglas Moore (The Ballad of Baby Doe), Leonard Bernstein (Trouble in Tahiti), Gian Carlo Menotti (The Medium, The Old Maid and the Thief), plus such lesser-known names as Vittorio Giannini (The Taming of the Shrew) and Mark Bucci (Tale for a Deaf...
With this Tennessee Williams-toned opening scene, audiences at Tanglewood's Theater-Concert Hall were introduced last week to a new one-act trilingual opera entitled Tale for a Deaf Ear, by Manhattan Composer Mark Bucci (rhymes with kootchy). For the Gateses, things quickly go from bad to hideous; Laura tosses a glass of Scotch in Tracy's face, and Tracy, rising to slug her, falls to the floor, dead of a heart attack. A repentant Laura kneels and prays that he be restored to life. While a pit chorus explains what is going on, three legendary miracles...
...opera, based on an Elizabeth Enright story, almost jolted the overflow (1,300) audience out of their seats, left them applauding wildly. Composer Bucci's score was lushly melodic, reminiscent in the sweeping emotional climaxes of both Puccini and Menotti, and pricked by dissonances which underscored the shrill chatter of Laura and Tracy...
...bassoonist (now with the Cleveland Symphony), Composer Bucci, 33, grew up "with a bassoon in my ear," resisted all family efforts to steer him away from music. He spent eight years in a Manhattan cold-water walk-up trying to learn to be a composer and being psychoanalyzed (his Tale suffers from pseudo-Freudian symbolism). Bucci failed to attract real attention until he set James Thurber's Thirteen Clocks to music for TV (TIME, Jan. 11, 1954). Says Director Boris Goldovsky of Tangle-wood's opera department: "Bucci provides something which we have missed with most modern composers...
...Manhattan's Meyer Kupferman, a Steinishly childlike spoof on royalty that was the success of the evening. ("Redolent, that's the word for the music," approved one Edinburgh matron. "It was the essence of nostalgia.") Next came Sweet Betsy from Pike, by Manhattan's Mark Bucci, a horsy mock-western. The bill closed with The Pot of Fat, by Massachusetts' Theodore Chanler, a Grimm parable about a cat and mouse who married and then found out about their incompatibilities. The crowd clapped the company to the rafters...