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...performers caught the tricky rhythm at the start of the cantata. This is important for a building of Mem Church's acoustics where the lack of echo mercilessly exposes poor ensemble. The opening chorus has a beautiful trumpet part. It was played with a smooth and searing quality that cut right through the dense choral and orchestral texture...

Author: By Kenneth Hoffman, | Title: Choral Evensong | 10/31/1973 | See Source »

FOUR men spend a weekend eating themselves to death in a grim, overdecorated mansion: the conceit has the imprint of an allegory by Bunuel, the echo of wild house parties in Italian movies of a decade ago, the teasing metaphysics of a "Last Year at Marienbad." Four men tied to a brotherhood pact that tests endurance --the premise is also a kinky Continental variation on "Deliverance...

Author: By Foster Hirsch, | Title: What Makes 'The Grande Bouffe' Different From a Porno Movie? | 10/26/1973 | See Source »

This is where Haggard seems to have gotten his orientation and his songs again and again echo themes of loneliness (rather than alienation), alcohol (rather than drugs), and poverty (for which hard work and a sense of dignity rather than social awareness is the remedy). Singing about hobos and prisons, Haggard feels like a protest singer, a spokesman for the working man who has his pride or the railroad bum who has his dreams...

Author: By Richard Turner, | Title: An Apology for Merle Haggard | 10/11/1973 | See Source »

...sources for the Agnew-is-going stories, newsmen turned to Deputy White House Press Secretary Gerald Warren to find out the thinking of the President. What Warren did not say turned out to be as valuable a clue as what he did say. As the President's diligent echo, Warren could have rescued Agnew from his humiliation by merely giving the slightest sign of support. Instead, Warren had "no comment" to questions about Broder's story in the Post, with one notable exception...

Author: /time Magazine | Title: THE VICE PRESIDENCY: Agnew's Agony: Fighting for Survival | 10/1/1973 | See Source »

...even, in an ultimate expression of her power, controls the other actors with strings, driving them into a frenzy of jerky movements. Ma-Gico is the only character who is capable of moving freely throughout most of the play; the other characters either do as they are told or echo from the sidelines the actions and words of the principals of each scene, often creating extremely comic exchanges...

Author: By Mark D. Epstein, | Title: Magical Acting | 9/29/1973 | See Source »

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