Word: coventionalism
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Vast Range. Turner's was not a "normal" life but a long exertion. He had little art training. His father, a Covent Garden wigmaker, exploited him, egging him on to turn out hundreds of bread-and-butter illustrations. His mother died mad, which seems to have inhibited Turner from trusting women; for sex he went to dockside whores, and for security and approval he turned to an institution, the Royal Academy. Nearly all his emotional energies were displaced into his work. Its sheer volume was astounding: the British Museum alone has 19,000 watercolors, color notes and travel drawings...
Conductor Bernardi has a discreet, controlled way with Mozart that was especially beneficial to some of his younger singers-notably Dutch-born Sonja Foot as Constanze and Montreal's Anna Chornodolska as the maid Blonde. Bass Joseph Rouleau, a regular at the Royal Opera House, Covent Garden, was lecher-perfect as the Pasha's harem keeper, Osmin. The star of the evening, though, was the five-year-old National Arts Centre Orchestra, a chamber-sized ensemble of 46 that Bernardi conducts in concert during the winter...
...five-week New York-Washington, D.C. season, Nureyev scored a double success. He danced an impressive debut in the comic ballet La Fille Mal Gardée. On the other half of the program was a scene from La Bayardère, the "white ballet" he restaged at Covent Garden...
...agrees Soprano Kiri Te Kanawa, an unusual name. At Covent Gar den last year, Basso Cesare Siepi kept asking, "Where is Kanawa?" as he looked around for a Japanese singer. In fact, the elegant Kiri is a New Zealander, the descendant on her father's side of a Maori chieftain. She now lives in England, where for the past three years her star has been steadily rising. Last week Kiri began to shine in New York too. In the grandest of operatic traditions, she made her Metropolitan Opera debut on a mere three hours' notice. Substituting...
...arch that spans the siege of Troy, the death of the Trojan women and Aeneas' departure to establish Rome. Indisputably the most epic of all grand operas, it has not yet achieved the popularity of Boris Godunov or Otello, but it is on its way. Britain's Covent Garden has successfully done it twice. The earlier English production, in 1957, was the first full staging in a single evening that even approximated the composer's original intentions. (Berlioz broke it up into two shorter operas but could manage to get only one staged.) Covent Garden...