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...playing second fiddle in Britain's Conservative Party these days, but former Prime Minister Edward Heath still calls the tune occasionally. Heath, who was ousted as head of the Conservatives in February, made his continental debut as a symphony conductor last week before sellout audiences in Bonn and Cologne. At the invitation of Maestro André Previn, Heath led the London Symphony Orchestra through a 15-minute performance of Elgar's Cockaigne overture while West German TV cameras recorded the event. "Scintillating," applauded Bonn's General-Anzeiger. "Heath probably took Richard...

Author: /time Magazine | Title: People, Apr. 28, 1975 | 4/28/1975 | See Source »

Strauss's advice that economy of gesture can be more effective than the manners of the grand dompteur," praised Die Welt. Heath, who won an organ scholarship at Oxford in the 1930s, had a ready explanation for his greater success as conductor than Conservative Party leader. "The orchestra has 120 musicians," he observed, "and Conservatives in the House of Commons number...

Author: /time Magazine | Title: People, Apr. 28, 1975 | 4/28/1975 | See Source »

Symphonie Fantastique by Berlioz, Five Pieces for Orchestra by Schoenberg, and El Deseo Sagrado by William Banchz; Harvard-Radcliffe Orchestra, James Yannatos, conductor; Sanders...

Author: By Joseph Straus, | Title: MUSIC | 4/24/1975 | See Source »

...Conductor Thomas Schippers gave the downbeat at 8 p.m. But the show that everyone had been waiting for did not begin until 8:22. That was when Beverly Sills emerged from the wings at the Metropolitan Opera to join her fellow Greeks in the grim doings of Rossini's The Siege of Corinth. Looking slender and vulnerable in a long blue gown, Sills moved down a small set of stairs, but never had a chance to sing her opening line, "Che mat sento?"(What do I hear?). She knew what she heard-a minute-long roar of welcome...

Author: /time Magazine | Title: Music: Sills Meets the Met | 4/21/1975 | See Source »

...called pants role, written originally by Rossini for contralto, but later rescored for tenor in deference to the historic Parisian insistence that men are men and women are women. Today, the role could be sung by either tenor or contralto. The female version is more elaborate, and Conductor Schippers prefers it. Decked out in armor and an elegant Zachary Scott mustache, Verrett moved enough like a man to make the impersonation halfway acceptable. Hers is not a warm voice, but it is clear and brilliant. Dramatic coloratura lines spun out in the third act's "Non temer" brought Verrett...

Author: /time Magazine | Title: Music: Sills Meets the Met | 4/21/1975 | See Source »

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