Word: da
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Dates: during 1940-1949
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Then the "dead" father turns up, the mere bandaged victim of a whack on the head; and Christy sinks from a hero to a butt. To regain his stature, he tries to murder his "da" all over again; but to Pegeen, a dirty squabble in her own backyard is something quite unlike derring-do at a distance. She scorns to marry Christy; and he, now bossing his father as fiercely as his father once bossed him, sets off with the old man, from Ireland's "Western World," for home...
Opera, Italian style, is flourishing in all its prewar luxuriance-a little haphazard by German standards but vocally superb. While in Rome I witnessed an outdoor performance of Aïda with nearly a thousand people in the cast of characters, done on a lavish scale that made Radio City Music Hall look like a miniature. Italy shows no signs of a cultural letdown. It is excited, exuberant and ready...
...title role of Ariadne, Manhattan's up-&-coming City Opera Company cast tall, stately, 38-year-old Ella Flesch, a Hungarian exile who had once been Composer Strauss's own choice for the part. A soprano prodigy ("In my cradle I had tones") she sang Aïda at the Vienna State Opera Company when she was 18. Four years later Strauss heard her sing Rosenkavalier. He put her into the leads in Elektra, Die Frau ohne Schatten...
...week. By the sixth chorus of the initial piece, "Darktown Strutters Ball," it had become apparent to the bystanders that here was an occurrence above and beyond the usual order of things. From thence and in the following order "Sweet Sue," "Blues in B Flat," "Tea for two," "Ja Da," and "The Sheik" were attacked. One of the reed men, a startling cross between Johnny Dodds and Joe Marsala blasted out a machine gun-like obligatto in answer to the adept growlings of the slip horn, while the cornetist, feeling no doubt that he was being attacked from both sides...
...straight adventure the picture is good. Paramount's standard conception of a mad seacaptain becomes something very far from stock in Howard da Silva's fine, complex, pent-up performance. William Bendix is real and frightening as his brutal and devoted first mate, and Brian Donlevy is resolute and sympathetic whenever he has a chance. Alan Ladd suffers, fights and makes up to womankind with his usual chilly proficiency and Barry Fitzgerald scuttles obscurely around in the galley, making all he can of his few lines...