Word: fausts
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Dates: during 1930-1939
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...from many mouths concerning the Procrustean rigours of the course system, which, cultivating knowledge in small and vigorous doses, so often blinds the intelligence of the student to problems and pleasures beyond the narrowest limits of his work; in examining the surface similarities between two versions of Goethe's "Faust" he forgets that the play is a thing of beauty and a living comment on life; in studying the calculus he overlooks that mathematics is a method of expressing the truth, as capable of interpreting the science of physiology as of indicating the proper...
Byron, of course, received an inordinate amount of praise. That Goethe placed him among English poets second only to Shakspere has always seemed to poste rity a critical aberration. Euphorian, in the second "Faust," is supposed to represent Byron; and what could be higher tribute? But in Byron, it seemed to Goethe, classicism and romanticism has been fused...
Tibbett's Metropolitan Opera audition got him a $60-a-week contract. He made his debut as Valentine in Faust, learned the role in two days without knowing a word of French. Just another baritone, critics thought, with a better voice than most but no experience. He muddled his entrances and exits. His elbows stuck out. His small, turned-up nose was not much to look at. He got the chance to sing Ford in Falstaff only because Baritone Vincente Ballester was sick. When the audience started shouting for him Tibbett was upstairs in his dressing-room removing...
Although plans are still somewhat tentative, the Club expects to present the "Damnation of Faust," by Hector Berlioz, in conjunction with the Boston Symphony Orchestra and the Radcliffe Choral Society, some time later in the year. This idea was suggested by Mr. Koussevitzky, director of the Boston Symphony Orchestra...
...honors of the evening went neither to the Emperor or his satellites. Word had arrived that a great man from Germany was coming to do homage to the Emperor of the French. The sage of Weimar, who had sent Faust stalking through the halls of Europe, and through the imagination of his contemporaries, the man who had called France the fatherland of his genius, passed through the courts of the palace, and entered the presence of the Emperor. When he bowed in the doorway, Napoleon, first among those present to greet him, raised his arm and cried "voila un homme...