Word: dying
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Dates: during 1960-1969
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Experience has taught him that although success is desirable, failure need not be fatal if one possesses enough human resilience. Of the advertising game he says, "If you play it grimly, you will die of ulcers. If you play it with lighthearted gusto, you will survive your failures without losing sleep. Play to win, but enjoy the fun." Olgivy seems always to have enjoyed the fun--but then, he's always been successful...
Palace and hovel, ships, torches, caves, rocky passes, thunderstorms, primeval forest, a chorus of "unborn children." The whole idea for a new opera called Die Frau ohne Schatten (The Woman Without a Shadow) so excited Richard Strauss that he wanted to be gin composing right on the spot. That was in 1911. It was eight years, however, before the shadow became a reality, and then, despite wide critical acclaim, it was 40 years more before it was staged in the U.S. Trouble was, with all those ships and rocky passes, the technical demands of the fanciful libretto were more than...
...nothing approached Die Frau ohne Schatten. Poet Hugo von Hofmannsthal's libretto requires a primer course in the mythology of six cultures in order to be fathomed, moves murkily between the spirit world, the human world of an impoverished dyer and his sensuous wife (Baritone Walter Berry and Soprano Christa Ludwig), and the go-between world of an emperor and his wife (Tenor James King and Soprano Leonie Rysanek). The empress, alas, is without a shadow-she cannot bear children-and with the aid of a Mephistophelean nurse (Mezzo-Soprano Irene Dalis) she attempts to divest the dyer...
...Strauss, conducted with thunderous brilliance by the late composer's gifted friend, Karl Bohm. By turns raging and receding, mischievous and mystical, the orchestration powerfully underscored the mysterious gulfs between the two worlds and buttressed each role with bold, contrasting shades of vocal writing. Big, robust, infinitely rich, Die Frau was symphonic opera music-and Metropolitan Opera-at its best...
Denis Hillier, a middle-aged spy looking forward to retirement, embarks on his last mission: to kidnap a turncoat British scientist named Roper, who is cooking rocket fuel for Russia. Adventures both sexual and gastronomic occur en route, for Hillier is a gluttonous satyr. Men die bloodily, some of them propelled into the hereafter by Hillier himself. The mission fails, not for want of Hillier's trying, but because his quarry refuses to go back...