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Italian pop star and cultural icon Lorenzo "Jovanotti" Cherubini spoke at the Harvard Kennedy School last night about his experiences as a musician and a proponent of human rights...

Author: By Sophie T. Bearman, CONTRIBUTING WRITER | Title: Pop Icon Discusses Music, Activism | 4/28/2010 | See Source »

Works of Poulenc, Ravel Cherubini and Duparc--Vincent Ricento, baritone, and Thomas Zajkowski, piano, perform at Holmes Hall, North House...

Author: NO WRITER ATTRIBUTED | Title: The Weekly What Listings Calendar: April 6-April 12 | 4/6/1978 | See Source »

...little dramatic variety and characterization. The opera focuses on Yerma with such single-mindedness that only an extraordinary singing actress-and such types are rare-could bring it off. Poulenc made the same demand in La Voix Humaine, Jánaček in The Makropulos Case, Cherubini in Medea, Richard Strauss in Salomé and Elektra. All in some degree have paid the price in lack of performances. Yerma needs a soprano who can act like Maria Callas and sing like Leontyne Price. In Santa Fe it had Mirna Lacambra, a young Spanish soprano with a red-velvet voice...

Author: /time Magazine | Title: Music: Infertility Rites | 8/23/1971 | See Source »

MEDEA (London: 3 LPs). Despite its powerful theme-the myth of the murdering mother-this 'opera has been infrequently performed since its composition 171 years ago. One reason is Cherubini's static, pedantic score. Another is the sadistic vocal demands of Medea, the lead role. In this album Gwyneth Jones lamentably fails to match her magnificent voice to the emotional exigencies of Medea, and Lamberto Gardelli's conducting is scandalously lethargic. The Callas version of Medea, released by Mercury in 1958, is an infinitely better listener's choice...

Author: /time Magazine | Title: Television: Dec. 20, 1968 | 12/20/1968 | See Source »

Amsterdam's renowned, 78-year-old Concertgebouw Orchestra, on the eve of a 1956 performance of the Cherubini Requiem in C Minor, desperately needed a substitute for ailing Conductor Carlo Maria Giulini; it turned to 27year-old Bernard Haitink, an assistant conductor and former second violinist of the Dutch Radio Orchestra, who had led the work not long before. "No," replied Haitink. "I'm not ready, and anyway, I'd like to stay alive." Hotter heads prevailed. Haitink conducted, and the familiar scenario spun to its happy conclusion: he was invited back by the Concertgebouw, soon began...

Author: /time Magazine | Title: Conductors: The Diffident Dutchman | 5/12/1967 | See Source »

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