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They love Caldwell because she does indeed know how to put on opera. As a producer and director, she has long since proved her wit, good taste and knack for motivating stage people. She has also emerged in the past few seasons as an uncommonly gifted conductor who waddles to the podium through the audience (there is no other approach in Boston's Orpheum Theater, an old vaudeville and movie house), slumps down into a canvas director's chair, then cajoles the dickens out of her pickup orchestra. All these talents were in evidence last week as Caldwell...

Author: /time Magazine | Title: Music: Barber of Boston | 6/17/1974 | See Source »

...students' artistic work. And music, where performance traditionally is nearly all extra-curricular, was the only area of the arts where performances were consistently good. At the top of the long list of stars were Yo-Yo Ma '76, a phenomenal cellist, and Gerry Moshell, most notably as conductor of the Lowell House opera's "Ariadne Auf Nauxos," in his last year as a Harvard music tutor...

Author: By Richard Shepro, | Title: Coordinating The Arts Gets A Slow Start | 6/13/1974 | See Source »

Lillian Hellman, Litt.D., playwright. Georg Solti, Mus.D., conductor (Chicago Symphony...

Author: /time Magazine | Title: Education: Kudos: Round 1 | 6/3/1974 | See Source »

...seemed like a partnership that could not miss. Composer-Conductor Leonard Bernstein and Choreographer Jerome Robbins, who created an authentic American dance classic in Fancy Free (1944) and later joined forces on Broadway's evergreen West Side Story, were collaborating on a new work for the first time in nearly 17 years. In the season of The Exorcist, their theme had a certain built-in appeal: the ancient Jewish folk myth of the dybbuk, a wandering spirit of a dead person that invades and inhabits the body of a living man or woman. So what could go wrong...

Author: /time Magazine | Title: Dance: Where the Spirit Listeth | 5/27/1974 | See Source »

...shaky at first. A drawn-out scene introducing a band of "shiftless and lazy" characters is relatively unappealing. But the entrance of the skeptical Bill Walker, played with comic gusto by Dan Beckhard, threatens to shake the charitable base of the conversion-oriented mission. Beckhard acts as a conductor, setting the other characters on fire. They ignite at his caustic brutalizing of the mission's sacharine Jenny Hill...

Author: By James Cramer, | Title: Bringing in the Sheaves | 5/10/1974 | See Source »

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