Word: dooms
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Dates: during 1960-1969
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...orchestras (Angel; 2 LPs), has superb soloists, Mezzo-Soprano Christa Ludwig and Tenor Fritz Wunderlich, whose promise was cut short by his accidental death last summer at 35. The orchestra sounds wonderfully clear and portentous, as though this were the last music to be played on the day of doom. Although Klemperer's playing time is actually shorter than Bernstein's, Angel chose to record the piece on three LP sides, filling the fourth with five Mahler songs...
...think bibliography of 370 sources, Mumford argues that making and using tools didn't signal man's rise from slime. Dreams, language, ritual-all first products of the mind-did. And because the mind is father to the hand, it can reverse the mechanized march to doom. How that might happen will have to wait until Mumford's sequel; this book ends in the 16th century with Kepler, Tycho Brahe and Copernicus metaphorically anticipating the end machine-the bomb...
...chose not to wear his ancestry as a social decoration but to accept it as a present doom and to argue with the Pilgrim Fathers as if they were living men. His poems call the Puritan spirit of New England to sharp account and make his ancestral portraits step from their frames and answer to Lowell. Thus his dialogue becomes an argument about his own nature, in terms of the Calvinist obsessions with sin, damnation, God and Satan. Lowell does not possess his ancestors; they possess...
...want to hide from facts. Yet each successive volume uncovers new variations on the theme of human bestiality. This fictionalized account is unusual in that it begins with the agonized if rather naive question of why the Jewish victims of the Nazis did not try to fight against their doom. It ends up-almost, it sometimes seems, against the author's intent-as an account of triumph amidst total despair...
Librettist Henry Butler stripped O'Neill's six-hour epic to focus exclusively on the psychological currents that seethe beneath the surface of each of the main characters. Boris Aronson's ghostly sets created decadence and onrushing doom. As drama, the opera unfolded with all the shivering tension of one long, gradually building shriek, thanks in part to the almost balletic direction of Director Michael Cacoyannis (Zorba the Greek). But what made Mourning move was the inspired acting of two darkly beautiful sopranos-Marie Collier as the lusting mother, and Evelyn Lear as the revengeful daughter...