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...developed into one of the most creative companies in the world. An opera composer himself (Penelope, School for Wives), Liebermann commissions two new operas a year, lets producers and directors follow their own imaginative flights. Currently, two new productions - a brilliant revival of Mozart's The Magic Flute and the premiere of Gian Carlo Menotti's first major stage work in five years - are proving the wisdom of such artistic generosity...

Author: /time Magazine | Title: Opera: Magic and the Globolinks | 1/3/1969 | See Source »

Elfin and Chinese. The Mozart was assigned to Peter Ustinov. Directing a full-length opera for the first time, he tackled The Magic Flute with warnings ringing in his ears. "Some pointed out that it was the most difficult opera of all to stage," said Ustinov. Their point was well taken, since The Magic Flute is a stylistic hodgepodge: there are dazzling coloratura arias, sunny folk songs and slapstick scenes. It is a curious melange, and the fact that it is based on a solemn Masonic morality play only adds to the confusion...

Author: /time Magazine | Title: Opera: Magic and the Globolinks | 1/3/1969 | See Source »

...what's on the surface." It turned out to be a poetic, elfin romp, somewhat in the spirit of Beni Montresor's enchanting 1966 production for the New York City Opera. Said Ustinov: "Too many directors try to make another Parsifal out of The Magic Flute...

Author: /time Magazine | Title: Opera: Magic and the Globolinks | 1/3/1969 | See Source »

...does play the flute for Marcus one night. And Marcus, not totally bereft of talent, plays the piano to accompany her. They fall in love, of course, and it's a scene that is something to see. The passion of two middle-aged failures finally breaking through the lone-liness of their lives can be much more exciting than Steve McQueen and Faye Dunaway playing an erotic game of chess...

Author: By Frank Rich, | Title: Hot Millions | 11/26/1968 | See Source »

ELVIN JONES, PUTT'N' IT TOGETHER (Blue Note). Drummer Jones, who played with the late John Cohrarie, became famous for his fiery musical duels with the master. With Jimmy Garrison on bass and Joe Farrell splitting three ways on tenor, soprano sax and flute, Jones here uses his flashy technique to inspire, shape and embroider a harmonically free, three-way dialogue. Reza and Jay-Ree brim with bright looping arches of sound reminiscent of Ornette Coleman. Soloing on Kei-Ko's Birthday March, Elvin gets under way with a humorous drum-corps pattern that soon turns into...

Author: /time Magazine | Title: Television: Oct. 11, 1968 | 10/11/1968 | See Source »

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