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Berrocal's sculptures are more than ingenious gadgets. Currently on display at Manhattan's Loeb and Krugier Gallery, they are handsome works of art, rich in double-entendres about the literary and legendary characters that they portray. Berrocal's Cleopatra, for example, is a curvaceous seductress whose voluptuous thighs, when the proper key is turned, open to reveal a red velvet jewel box inside. Her face disassembles into a bracelet that can be removed and worn by the owner. The most dramatic work is one called Alfa and Romeo, which looks like a demure pair of lovers...

Author: /time Magazine | Title: Sculpture: Take Apart and Look Again | 5/23/1969 | See Source »

...overture was followed by the maligned Cléopâtre composition, sung by Mezzo Beverly Wolff, and several excerpts from the dramatic symphony Romeo and Juliet. The first is charged with imaginative pictorial touches-for example, the snakish slide of the violas and cellos as Cleopatra clasps the asp to her bosom. In Romeo and Juliet, Berlioz shows that he can be as tender with Shakespeare's young lovers as he is terrifying with Cleopatra. Berlioz did not, however, always have to rely on emotional pressure. The overture to the comic opera Beatrice and Benedict, which Davis played...

Author: /time Magazine | Title: Composers: Hector the Ferocious | 11/22/1968 | See Source »

This passage, which evokes both Shakespeare's Cleopatra and the historic Queen Elizabeth (who were both barge owners), seemed to Pound as "too tum-te-tum at a stretch." Eliot fortunately could not help writing poetic poetry. His verse, as it was written, tum-te-tums today in many a mind, and the Boston lady's chair in that passage is still a "burnished throne...

Author: /time Magazine | Title: Books: He Do the Police In Different Voices | 11/22/1968 | See Source »

Apart from their petrifying boredom, the one quality that unites both these musicals is effrontery. Her First Roman has the gall to take Shaw's Caesar and Cleopatra and suffocate it in dullness...

Author: /time Magazine | Title: New Plays: No-Shows | 11/1/1968 | See Source »

Died. Julius Fleischmann, 68, heir to the Fleischmann liquor fortune, who used his wealth to help finance the Ballet Russe, Manhattan's Metropolitan Opera and numerous Broadway plays (Pygmalion, 1946; Caesar and Cleopatra, 1949); of cancer; in Cincinnati...

Author: /time Magazine | Title: Milestones: Nov. 1, 1968 | 11/1/1968 | See Source »

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