Word: duetting
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Dates: during 1950-1959
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Then, without mentioning his name. Bernstein singed the war bonnet of New York Herald Tribune Critic Paul Henry Lang, 56, professor of musicology at Columbia University, who had scolded Maria Meneghini Callas and Tenor Daniele Barioni for singing flat in their first-act duet in La Traviata (TIME, Feb. 17). The pitch was dropping so fast at one point, Critic Lang had written, that it seemed as if the singers were about to land in the conductor's lap. Bernstein's complaint about this display of "great authority and chilling wit": Barioni was indeed...
...said this ship was on its maiden voyage." Fortunately, saucer-eyed Lucille took her lumps with undiminished zest and even worked her putty face through one funny bit in which she and Desi, meeting for the first time in a Havana night club, swapped pitter-pats in a love duet on the bongo drums. The messages between them grew more frantic, and after beating out an abandoned rhythmic burst, Lucy shrieked in astonished self-admonition: "What am I saying...
...breathless bleat: too seldom heard is aging (79) H. V. Kaltenborn's clipped assurance. The news comes by short wave and on tape, the newsmen in snazzy ties and boutonnieres (ABC's popular John Cameron Swayze), and even in pairs (NBC's intelligent and informative duet, earnest Chet Huntley and wry David Brinkley). TV's journalists flit all over, like the technically muscle-flexing Wide, Wide World, or work in a simple star chamber, like Interviewer Mike Wallace. On too rare occasions, the newsmakers themselves step before the cameras: Kefauver dueling with a faceless Frank Costello...
Elusive Harmony. In San Jose, Calif., Clement Lopez, after slugging his partner in a midnight duet and fracturing his skull, explained: "He was singing out of tune...
...performance marked by a water-clear sense of orchestral relationships and rock-sure control. He attacked at a slower than usual tempo, underscored the sensuous quality of the music without letting his orchestra wallow in it. There were the usual first-night flaws. During the second-act love duet, the word über-mächtig "vanished without trace" from Tenor Wolfgang Windgassen's memory. With a series of semaphore cues that almost sent him clambering on the stage, Sawallisch brought order out of chaos while Soprano Birgit Nilsson improvised for several measures. But the third act went...