Word: ferraris
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...field limit of 30 starters. A host of disappointed entrants were shut out because either their cars or their driving was not up to scratch, or their entries were too late. A bang-up race from start to finish, it was not finally settled until the homestretch run. Allards, Ferraris and Jaguars dominated the big-car field, but the fans especially watched No. 15, a blue & white Cunningham C4R, powered by a Chrysler engine. American-produced by Millionaire Sportsman Briggs S. Cunningham, the car was the U.S.'s big hope in a field dominated by Europeans. Dragging exhaust pipes...
...heightened public interest. Of the 97 starting cars, only 35-all but two U.S. models-finished out the race. Among the starters who dropped out: Hershel McGriff of Portland, Ore., winner of the 1950 race. The two foreign cars that went the route, both lightweight 1951 Italian Ferraris, came in first and second. Leading the pack was Italy's white-haired Piero Taruffi, who finished fourth last year. Taruffi's Ferrari covered the 1,933 miles at an average speed of 88.2 m.p.h., 9.8 m.p.h. faster than McGriff's 1950 mark. Runnerup was Alberto Ascari, Italy...
Ermanno Wolf-Ferrari (1876-1948) was a 20th Century composer with 18th Century ambitions. In most of his 13 operas (best known: The Jewels of the Madonna, Secret of Suzanne), he aimed for classic form and comic elegance. At his best, he came close to being the poor man's Mozart; at his broadest, a kind of roughhewn Rossini. Last week he was Manhattan's newest opera...
...Wolf-Ferrari based his Ruffians on a farce by 18th Century Carlo Goldoni: two prosperous Venetian merchants arrange a marriage of convenience for their children, and, being unromantic old curmudgeons, vow that the young couple shall not be allowed to meet until they reach the altar. Their wives, being romantic busybodies, vow that the youngsters shall meet anyhow, and thereby thinly hangs the opera...
Venetian-born Composer Wolf-Ferrari fattened it out with a score that was old-fashioned in its harmonies and cadences, but always fresh, animated and agreeable. The melodies, if not memorable, were pleasing, the ensembles nicely assembled, and the orchestration throughout a model of clarity and cleverness...