Word: crystallizer
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Dates: during 1960-1969
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Died. Doretta Morrow, 42, onetime Broadway beauty, star in The King and I and Kismet; of cancer; in London. Blessed with a crystal soprano, she rose to stardom as Tuptim in 1951's The King and I, went to Hollywood in Because You're Mine with Mario Lanza, and returned to more cheers with Alfred Drake in 1953's Kismet-then in 1960 tossed it all aside to marry a London insurance executive...
...authors are always willing to settle for a handful of shameless titters from the audience ("Clint, honey, what was the idea of that crystal ball?" "Guffaw, guffaw!"), but this year's were content with less. I saw them shoveling it in at a lunch for Angela Lansbury last week, telling someone they'd been sitting on the script for nearly a year. It shows...
...equally enthusiastic following for her accomplishments with the cello. Neither is shy about displaying virtuosity, and this disk demonstrates that Mr. Barenboim is master of his house even on the concert stage, for he conducts his wife and the English Chamber Orchestra into the crystal world of Haydn and Boccherini with great aplomb. Jacqueline is so absorbed in the effort of doing justice to Haydn's recently discovered concerto (composed circa 1765 and found in the National Museum in Prague in 1961) that her breathing is quite audible. More's the charm...
Under the great crystal chandeliers of the banquet hall, the waiters kept pouring out the Dom Pérignon '62 and the guests kept pouring out Franco-German friendship. At one particularly ebullient moment, De Gaulle rose with a toast to "the friendship that our two peoples have sealed, guided by reason and emotion alike." Then a messenger arrived from the Quai d'Orsay, bearing an urgent news dispatch for Foreign Minister Maurice Couve de Murville. It was datelined Ravensburg, West Germany, and it froze the frail Couve in his mahogany chair. It also launched...
Seated amidst the gilt and crystal of a venerable concert hall, watching an elegantly tail-coated conductor lead a Brahms symphony, the modern concertgoer may sometimes feel that he is inhabiting a scene preserved in amber. In such a tradition-rounded realm, the conductor and everything under his sway appear to have been unaltered in half a century. His basic repertory is the same. The makeup of his orchestra and its instruments are unchanged. The auditoriums he performs in are virtually the size and shape they always were. Through an epoch of transformations that have touched nearly every human activity...