Word: duet
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John Austin '56 has divided his Piano Suite for Children into brief sections whose charm lies in their simplicity. Occasionally he takes the title too literally and the result (as in Chorale and Play) is merely pretty salon music. But the movements Song and Duet have a quietly reflective beauty that pervades the suite as a whole...
...worth of insurance on his celebrated nose, had reason to regret letting the policy lapse. While rehearsing a TV show with Schmaltz Pianist Liberace, Jimmy had a long-overdue accident, best described in his own words: "There's this piano scene. I'm playin' a duet wit Liberace. So I hits two notes, he hits two notes. Then I say, 'In a competition, you got to use all your weapons.' So I starts to play wit my nose. So Liberace comes over and accidentally touches the piano-key lid and it comes down...
Composer Copland turned in a compact (95 minutes), clean-scrubbed score. The opera's melodic high point was an eight-minute love duet. Elsewhere, Copland managed to give a fairly musical lift to such prosy lines as "Not for me, Mrs. Moss. I've already had three helpings." By the supporting fullness of his orchestra, he also made the singers' voices sound warmer than they do in most contemporary opera. But his music slid too easily from one cool harmony to another, and on the whole, held as little punch as the libretto. When it was over...
...gorgeous frame for the principal action. Among the brightest spots: Fonteyn's touching pantomime as the bewitched swan-princess and her vicious precision in her alternate role as the magician's wicked daughter; Dancer Somes's hurtling leaps in the court scene; a new "Neapolitan" duet (danced by Julia Farron and Alexander Grant) that nearly stopped the show...
Robert Montgomery Presents (Mon. 9:30 p.m.. NBC). John Newland in Duet for Two Hands...