Word: countesses
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Dates: during 1970-1979
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...most sensational murder mysteries. Inside the coroner's tiny court on the first floor, a jury of six men and three women was hearing evidence of the brutal bludgeon murder last November of the nanny to a titled family and an attack on her employer, the Countess of Lucan, that put the countess in the hospital for a week (TIME, Nov. 25). Thirty-two witnesses, Lady Lucan among them, dryly recited their testimony as the coroner summarized it in longhand. From the start, the inquest had become virtually a trial in absentia of Lord Lucan, 40, who has been...
...elfish performance for some 40 friends gathered to toast him in Manhattan. RCA presented him with a chocolate piano with 88 keys. Purring at the adulation, and twinkling much the way he must have in Paris when he was interrupted during Chopin's Nocturne in D by Countess Zamoyska, who suddenly kissed him passionately on the lips, Rubinstein added: "Since 80, I've had the feeling I've been doing nothing but giving encores, and encores have always been the happiest time...
...lost irony back into the music, and it could be argued--although perhaps not too convincingly--that having just the music makes some of the ironies clearer. There are beautifully ambiguous moments like the quiet, harp-like string passage-a rebuke to the Count, a relief to the Countess--when Susanna comes out of the closet in the second-act finale. And director Earl Kim's simple conducting and quiet, steady beat make it easier to see why the citizens of Prague, wiser than the Vienna court which accorded Figaro only a moderate success, adapted its tunes for popular dances...
...OPERA Company runs into occasional problems. John Davies doesn't really have the voice for Bartolo's lowest notes. Diana Hoagland more than rises to the occasion of the Countess's big third-act aria, but some of her earlier attempts at acting seem a good bit closer to Lucia's madness than Rosina's anger. Sunday night's orchestra didn't seem to approve of them, either--the strings swung briefly out of tune for the introduction to her first aria, something that didn't happen again until the whole orchestra--previously more than competent--began to fall apart...
Bearded, bare-chested, and languishing on an oyster-shell litter, Larry Carpenter is an acceptable Duke Orsino, more in love with the idea of love than with its object, Countess Olivia. Caroline McWilliams imbues the pretentiously mourning Olivia with graceful warmth and some delectable touches of sarcasm ("We will hear this divinity"). After her impetuous marriage to Sebastian, however, she neglects to wear the wedding ring referred to in the text...