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...there is always next time, and preparations for next year's Carnival start early in March. Even in the backwoods of the North, "Hope springs eternal..."Time to leave, or, as the conductor said, "By God, there are so many lovers around here...

Author: By Judith Blitman and Joanna Burnstine, S | Title: Winter Carnival: Reflections of a Mad Age | 2/13/1959 | See Source »

...Manhattan anyway. Delighted to have Maria under its wing, the imaginative American Opera Society, which specializes in concert versions of rare items, agreed to bring forth at Carnegie Hall a fine old showcase for her fiery talents (Bellini's Il Pirata), allowed Maria to bring along her own conductor, tenor, baritone. Success was assured. The stiff prices ($33 top) fazed few of her fans, who applauded the Callasthenics lustily, ahed her mad scene, stopped cheering only when a stagehand doused the lights...

Author: /time Magazine | Title: People, Feb. 9, 1959 | 2/9/1959 | See Source »

...most widely praised-and least frequently heard -monuments of English music. Last week Manhattan concertgoers had a chance to hear the full Gerontius score for the first time in a quarter-century. The occasion: a performance by the New York Philharmonic and the Westminster Choir under Guest Conductor Sir John Barbirolli...

Author: /time Magazine | Title: Music: Sir Edward's Dream | 2/2/1959 | See Source »

...beginning of the performance, Conductor Barbirolli turned to the audience and remarked that it was about to hear a "sublime masterpiece." Gerontius, as Barbirolli's sympathetic performance demonstrated, is considerably less than a masterpiece. But it is considerably more than the musical antique a generation of concertgoers has taken...

Author: /time Magazine | Title: Music: Sir Edward's Dream | 2/2/1959 | See Source »

...twelve tones of the tone-row technique that he recently adopted. Unrelievedly austere in mood, the work unfolds in a series of canons for two, three and four voices, choral chants, spare snatches of instrumental sound. Merely to cue the onstage forces properly was a tricky task, and Conductor Craft performed it brilliantly. Stabbing with a forefinger, lifting his shoulders in rhythmic shrugs, mouthing the Vulgate text in time with the singers, he shaped a performance of geometric clarity, suffused with a thoroughly moving air of penitential passion...

Author: /time Magazine | Title: Music: Conductor of Moderns | 1/19/1959 | See Source »

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