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...council simply funnels state funds to such established groups as London's Covent Garden Opera, Sadler's Wells Ballet and Old Vic, contributes to the support of ma jor symphony orchestras, etc. But art is a different matter. Instead of handing its money to, say, the Royal Academy, the council has concentrated on organizing its own exhibitions, and on buying works of art for its own collection...

Author: /time Magazine | Title: Art: Culture's Minister | 6/2/1952 | See Source »

...title role, Rosenstock borrowed Baritone Marko Rothmuller, a onetime Berg pupil, from London's Covent Garden (from which he also borrowed the English translation). Rothmuller was a sympathetic character as the cloddish, hallucinated soldier, but vocally he turned out to be a bellower. Soprano Patricia (The Consul) Neway was miscast as Marie: she was more of a heart-wringing Tosca than the faithless tart she was supposed to be, and she screeched in her attempt to be heard over the orchestra...

Author: /time Magazine | Title: Music: Wozzeck Splashes | 4/14/1952 | See Source »

...Full Nether Lip. Nelly was born, said the journals of the age, in a Covent Garden bawdyhouse, of a father unknown and a mother notorious as "old Madam Gwyn," a brandy-soak "that in one day could twenty quarts consume, / And bravely vaunt she durst it twice presume." (One day she durst, and the next she was fished out of a Chelsea brook; Nelly, rich and famous by then, gave her one of the flashiest funerals of the Restoration...

Author: /time Magazine | Title: Books: The Darling Strumpet | 2/4/1952 | See Source »

...faultless musical performance, and young (30) U.S. Bass-Baritone George London sang a magnificent Amfortas. Glowed Wagner Biographer Ernest Newman, 82, critic of the London Sunday Times and a Bayreuth regular for half a century: "The most beautiful Parsifal I have ever seen. I will never go to Covent Garden for it again. I will only see it here...

Author: /time Magazine | Title: Music: Twilight of the Gods | 8/13/1951 | See Source »

...first week on the job, Critic Smith took after the star of a Covent Garden performance of Madame Butterfly. For him, Soprano (and onetime Australian golf champ) Joan Hammond was "not equipped by physique or temperament to portray the fragile, trusting heroine. There was about her a heartiness . . . suggesting she had left her riding crop just outside the door." With that, the storm broke...

Author: /time Magazine | Title: Music: Crash Around a Critic | 5/14/1951 | See Source »

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