Word: dietrichs
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Dance with Mum. Tommy starred in a film (The Tommy Steele Story), followed such stars as Marlene Dietrich and Noel Coward into London's swank Café de Paris, and told his fans how the posh life felt: "I'm the proudest kid in the world-I've danced with my mum in the Café de Paris...
...society showoff ("I'll relax and behave myself for three days after my wake"), thrice-married widow (her last: Oklahoma Oilman Frank C. Henderson) who once (1947) hoisted a thin-shanked, 72-year-old leg onto a table at the Metropolitan Opera House bar ("What's Marlene Dietrich got that I ain't got?") and gloated in her success as every tabloid spread the exhibit across the nation (East German propaganda displayed it as a sign of "Life in America" degeneracy); of the infirmities of age; in Manhattan...
Cooked Spaghetti. Cheerily resigned to her new home-away-from Home, The Arlene Francis Show, she staged a salute to woman suffrage, told fairy tales, dueted with Comedienne Elaine Stritch, interviewed General Carlos Romulo, chitchatted with Actor Cyril Ritchard, and delivered a spoof of Marlene Dietrich's seductive See What the Boys in the Back Room Will Have. Only a fractured heel, which she got hopping over a low railing on Home, kept her from dancing. As always, Arlene's personal didos were gay, frolicsome and deceptively casual. "Sometimes," she explains, "the cozy, casual chums...
Prosperity & Poverty. The St. Thomas Choir bears roughly the musical relationship to the more widely publicized Vienna Boys Choir that the Boston Symphony does to the Boston Pops. St. Thomas was founded in 1212 by local decree (signed by one Dietrich the Oppressed), and long before Bach took it over, the choir was known throughout Europe. Bach, the 15th St. Thomas cantor, persistently complained about his teaching chores, fought a running battle with the school administration, nevertheless managed to compose enough church cantatas for one to be sung every Sunday for five years without repeating. Few St. Thomas cantors have...
...Paris, where castrati singers were frowned upon.) Of the two versions, Epic's (in French) is more authentic historically, but less effective, chiefly because Canadian Tenor Leopold Simoneau's silver-hued voice seems less moving in the role of the suffering Orpheus than the lyric baritone of Dietrich Fischer-Dieskau, imaginatively cast by Decca in its German-language version. The supporting casts in both albums are excellent: Sopranos Suzanne Danco and Pierette Alarie (Epic), Maria Stader and Rita Streich (Decca). Despite the good singing, the recordings suffer from the opera's basic structural fault. Groundbreaker though...