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Leading performers get terribly emo tional about their instruments (which the manufacturers lend out for concert use in exchange for the prestige that the pianists bring). Glenn Gould always played Steinway's No. 174; when it collapsed some years back, he was thrown into a deep depression. Gary Graffman, Eugene Istomin, Jacob Lateiner and Leon Fleisher at one time all craved Old 199, and they passed it around among themselves so that each could have it for major concerts. Dame Myra Hess used to think of her pianos as so many husbands, once cabled Steinway...

Author: /time Magazine | Title: Instruments: Smoke Rings From Baldwin | 9/9/1966 | See Source »

VERDI: REQUIEM (2 LPs; Angel). When Verdi wrote his Requiem, most critics complained that it was too passionate and sensuous, but one sympathizer de fended him. Italians have their own emo tional habits, he argued, and should be allowed to "talk to the dear Lord in the Italian language." Conductor Carlo Mario Giulini does so here, and it is unlikely that anyone could be more eloquent. He does not set the Dies Irae ablaze as Toscanini did, but his performance has a steady incandescence. Honors also go to London's Philharmonia Orchestra, its huge chorus, and the four soloists...

Author: /time Magazine | Title: Time Listings: Oct. 2, 1964 | 10/2/1964 | See Source »

...that a growing number of Latin American leftists, as one Bolivian says, ";feel closer to poor struggling China than they do to rich, powerful, bourgeois Russia." Chinese-oriented Communists now reportedly outnumber the Moscow followers among Peru's party members. And in Venezuela, Peking certainly talks the right emo tional language for the F.A.L.N. guerrillas fighting in the hills. Last month a Venezuelan delegation of F.A.L.N. sup porters traveled to Red China, where they were received by Mao Tse-tung. They then traveled on to North Viet Nam for a visit last week with Ho Chi Minh - and presumably...

Author: /time Magazine | Title: Subversion: Breath of the Dragon | 9/11/1964 | See Source »

...done so with no real flair for acting, for it is truer of Tucker than of al most any other tenor that, in the Italian phrase, "the opera is in the throat." What emerges from Tucker's throat is a warm and sensuous voice, vibrant with emo tional fervor, capable of a lyrical legato or a ringing fortissimo. Tucker uses that voice with precise intelligence, lightening and darkening his tone to convey a whole range of feeling. Among the roles that he has not yet sung at the Met are two that contributed to Caruso's fame: Canio...

Author: /time Magazine | Title: Music: The Golden Tenors | 4/6/1962 | See Source »

...blasted as a "decadent bourgeois," the meeting became a chattering, congenial gabfest, and the famed composer was invited to make his first visit to his native land since he left in 1914. Stravinsky tentatively accepted, but as his wife explained, "He is worried that he will become too emo tional when he returns to Russia...

Author: /time Magazine | Title: People: Jun. 16, 1961 | 6/16/1961 | See Source »

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