Word: debutitis
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Dates: during 1950-1959
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...Alec Guinness in The Wicked Scheme of Jebal Decks (NBC). Not long ago Guinness, perhaps best remembered, for his role as the dubious bank clerk in The Lavender Hill Mob, declared: "I have an absolutely unalterable rule-no more roles about a dubious bank clerk." For his TV debut, he played just such a clerk, who dubiously plots to avenge 22 years of thankless labor by humiliating the bank's brass. His scheme: instead of swiping the bank's funds, he adds his own money to them, creates total bookkeeping chaos, and rapidly advances toward the presidency when...
...brunette became one of the best lyric-coloratura sopranos in the world. Last week a busload of teachers journeyed to Manhattan to cheer the school's most famous alumna in a new kind of starring role. Young (24), shapely (36-24-36) Soprano Anna Moffo was making her debut at the Met in Verdi's La Traviata...
...18th century costume, and their names made a roll call of Boston's social top drawer. Occasion: a performance of selections from French Composer Jean-Philippe Rameau's comic ballet Platée (1745), with French Tenor Michel Sénéchal in his U.S. debut. Place: the 60-seat, century-old Varieties Theater in the Brookline mansion of Boston Socialite Mrs. George Shattuck, one of the few surviving private stages...
...concert's end, the audience crowded forward to congratulate Sénéchal, one fan pausing to extract a pack of Camels from beneath his powdered wig. At 28, Tenor Sénéchal, who will tour the U.S. after his private debut, is so much in demand that opera or concerts keep him busy five nights a week. Platée, he confessed last week over a post-performance glass of warm milk, is his favorite role, and the Varieties one of his favorite theaters. Unlike Fanny Kemble, he was delighted to be rubbing elbows with...
...many of his melodies from the inflections of common speech, caught them by prowling around with a notebook, jotting down overheard phrases and sentences in approximate musical notation. The result is that the orchestra becomes part of the drama. In last week's performance (which marked the U.S. debut of opulent-voiced Dutch Soprano Gré Brouwenstijn) Jenufa proved to be as haunting a work as Alban Berg's Wozzek (TIME, March 16). From its ominous opening xylophone solo to the final burst of harp-punctuated melody, the village tragedy unfolded without the benefit of set pieces, ensembles...