Word: carlos
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Dates: during 1950-1959
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...Gian-Carlo Menotti believes that "any subject is good for opera if the composer feels it so intensely he must sing it out." Standing before Hieronymous Bosch's The Adoration of the Magi one day in Manhattan's Metropolitan Museum of Art, Menotti felt the old intensity welling up inside. He found himself thinking about miracles of faith, and of his own childhood lameness which was cured-miraculously, he believes-when he was four. As he stood there, he knew he had the subject for his seventh opera...
...Opera (Mon. 9:30 p.m., NBC). First showing of Gian Carlo Menotti's new work, Amahl and the Night Visitors...
There was nothing narcotic about the year's novels from Italy. The two best were by Alberto Moravia: Conjugal Love, which dealt with a nasty marriage conflict without becoming nasty, and The Conformist, the case history of a weakling whose weakness made him a Fascist. Carlo Levi (Christ Stopped at Eboli) came a cropper with The Watch, a sympathetic but unfocused look at his postwar land, but Giuseppe Berto followed an uneven first novel (The Sky Is Red) with The Brigand, the story of an Italian Robin Hood which exposed the despair of ordinary people with a fine mixture...
...Even Money. A small touring opera company came to Spokane that spring. Pat got a job in the chorus for the performances of Cavalleria Rusticana, Pagliacci and Carmen. The San Carlo Opera Company also came to town that year, and Pat and a friend named Mary Jo Williams heard Madame Butterfly. Pat solemnly bet her girl friend 15? she would some day sing at the Met (she has never collected...
...modern eye could accept and believe. Emphasizing massiveness ("a Rockefeller Center without windows") rather than the usual archeological detail, his Egypt sometimes seems closer to Broadway than the Nile. Even so, it is effective: his third-act temple looms 36 feet high, four feet higher than his Don Carlo sets (which broke Met records). As he did in Don Carlo, he moved everything down close to the footlights so that many in the Met's 500 "blind" seats could see. But what would especially hit the audiences is color-reds, blues, greens, purples, pinks and yellows. Seldom...