Word: concerte
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Dates: during 1960-1969
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HENRY, SWEET HENRY lured theatergoers into picking up $400,000 worth of tickets in advance of its opening. These venture-capitalists have a dismally disenchanting evening in store for them. The musical concerns itself with a pair of schoolgirls who spend off-hours spying on a concert-stage idol (Don Ameche). When he is not pounding the keyboard, he dallies carnally with suburban and urban matrons. The music is tuneless, the lyrics witless, and the dances could pass for mass hopscotch. What less...
Restoring the Glow. The time for sober second thoughts came only as Chicagoans realized that while their city was rapidly growing, the number of its theaters and concert stages was actually shrinking. Sparking a drive that began in 1960 to rehabilitate the Auditorium was Mrs. John V. Spachner, a tenacious and seasoned Chicago fund raiser. Undaunted by an earlier estimate that had pegged the cost of restoration at $4,000,000, Bea Spachner enlisted the aid of an enthusiastic Louis Sullivan fan, Architect Harry Weese, 52. Weese resurveyed the building, reported that it could be brought back to mint condition...
...Here the orchestra received a bit of unplanned assistance from the Cambridge Fire Department. At the end of the Third Bagatelle, the rising wail of the fire siren coincided exactly with the solo 'cello's ascending glissando. It was probably the only time 'cellist Martha Babcock smiled during a concert...
Until recently, the idea of Orientals performing Western music seemed about as freakish as Heifetz playing the one-string ichigenkin. Now all that has changed. In the past few years, American and European concert halls have experienced something close to a full-scale invasion by talented Korean and Japanese musicians. Last week, Japan's Seiji Ozawa, 32, conducted programs of Rossini and Hindemith in Canada; Korean Violinist Young Uck Kim, 20, performed Saint-Saëns' Concerto No. 3 in Corpus Christi, Texas; and an eight-year-old Japanese cherub named Hitomi Kasuya played part of a Mozart...
There is as much paradox as music. Dylan is arrogant and charming, protected and protective, petty and detached, eloquent and inarticulate. He stands once removed from what he is because he can escape into the black hall and white light of the concert, into his songs where he can't be found out. "It's gonna happen fast," Dylan tells a Time reporter before a concert. "It's gonna happen fast and you're not gonna get it all. When it's over, I won't be able to talk about it. I got nothing to say about these things...