Word: conductor
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DIED. Kurt Adler, 70, chorus master and conductor at New York's Metropolitan Opera (1945-73); after a long illness; in Butler, N.J. A calm man in a frenetic job, Adler said of his chorus, "They are like any other group of people, as good as you make them be and as bad as you let them...
Indeed, the production may go some what too far in this direction. To complete the analogy with Fantasia, the film's animated sequences are linked by live-action scenes in which a cruel conductor and an overworked animator are shown in contentious collaboration, farcically knocking each other about and sending up the dignified portentousness of Conductor Leopold Stokowski and Commentator Deems Taylor in their portions of the Disney picture. This is strictly high school skit stuff, far below the general level of the animated material it introduces. The effort ill serves the cause of expanding the audience for serious...
...also turned conducting into a spectator sport, giving the role of conductor a panache that has not yet been surpassed. When he died last week of a heart attack during a morning nap at his farmhouse in an English village called Nether Wallop, a titan of music was gone, an era ended. At age 95, he had been expecting to go to London to make another album for Columbia Records...
...mother of Irish descent. They managed to scrape up enough money to send him to Oxford and to the Royal College of Music. He got a job as an organist in a London church, then moved to St. Bartholomew's in New York. In 1909 he became the conductor of the Cincinnati Symphony. He was young (27) and virtually untried, but magisterially handsome and already with the mark of genius upon him. Under the gaze of his stern blue eyes, matrons twittered, instrumentalists quailed and other cities began paying attention. Three years later he was off to Philadelphia...
...about the art of portraying an operatic heroine onstage. But she might have been offering her philosophy of life. She came out of an unhappy childhood-appallingly fat and resentful and lonely-and clawed her way to success and greatness with a singlehearted ferocity that awed even her enemies. Conductor Tullio Serafin, her indispensable mentor in the crucial early days, was tossed aside temporarily-for daring to record La Traviata with another soprano. Enraged at the Callas ego, La Scala Tenor Giuseppe di Stefano declared, "I'm never going to sing opera with her again." Later he changed...