Word: epics
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Dates: during 1960-1969
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Vocal REGINA RESNIK: FRENCH, GERMAN, SPANISH AND RUSSIAN SONGS (Epic). Great singers never rely on vocal beauty alone, for they know that they must combine drama and music in almost equal parts. Regina Resnik's vocal stagecraft is nearly unexcelled. This disk offers a variety of songs, each a sharp, clear miniature of a thought, a mood or a conflict. Bronx-born Resnik employs her practical intelligence, her personal flair and her firmly controlled mezzo throughout the recording. But she is most effective when her Russian ancestry boils to the surface in a gloomy Prokofiev work. The Pillars, which...
...Stanley Kubrick's epic of human adyancement, externally motivated. The special effects must be seen, and can best be seen from the first five rows. At the CINERAMA, Washington St. near Essex...
...colleagues in government and the army, Howard's Cardigan is a walking caricature, not a man. He blusters and fumbles, he forgets the simplest things, and he carries unreasoning insistence on detail and perfection to an impossible excess. Of course, the film is being billed as a kind of epic-satire, and this kind of excess is the staple of satire. But to satirize history is absurd. A historical film can only try to depict and explain; satire is meant to correct, and history cannot be corrected. For this reason Richardson is at his worst when he attempts to satirize...
...wholly contemporary without having had to transfer the action to a modern setting. Romeo and Juliet appear afresh as two incredibly articulate but believably, agonized teen-agers whose turf happens to be Quattrocento Verona. Too young to buck the Establishment-the Italian city-state with its machinery of epic feuds and rituals-they are finally undone by their passions. Death enlarges them when they abolish their parents' hate. They become, as Juliet's father puts it in the play's epilogue, "the poor sacrifices of our enmity...
Zeffirelli's reputation was established at La Scala in Milan, where in 1954 he designed the costumes and sets for, and staged a production of Rossini's La Cenerentola. It was the beginning of the Zeffirelli style-the flamboyant baroque settings, the epic brio that could turn a war horse into a steeplechaser. Although triumphant in opera, he has been somewhat less successful on the dramatic stage. His incoherent Othello was throttled by reviewers at Stratford-on-Avon. After seeing Zeffirelli's Broadway production of The Lady of the Camellias, TIME's critic called...