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Artist Marc Chagall believes in "God, Mozart and color." The Metropolitan Opera's Rudolf Bing believes in Mozart, Chagall and boxoffice. Thus, when the Met scheduled a new production of The Magic Flute, it seemed only right that the 79-year-old Chagall should design the sets and costumes. No matter that he had never before tried his hand at opera; The Magic Flute is fantasy, and in that misty, mystical medium Chagall is the original beautiful dreamer. "He is so very right for it," said Bing...

Author: /time Magazine | Title: Opera: Flowery Flute | 3/3/1967 | See Source »

...Bing was so very wrong. There are two fundamental ways of approaching The Magic Flute: either as a symbolic, deeply philosophical work, as Oskar Kokoschka attempted (unsuccessfully) in his stolidly realistic sets for the Lyric Opera of Chicago in November; or as straight fairy tale, as Beni Montresor tried (successfully) in his lavish scenery for the New York City Opera in October. Chagall strove to incorporate both approaches and achieved neither. He viewed the opera in terms of color, reiterating that the total effect of the scenery should be "like a bouquet of flowers." When the opera finally opened last...

Author: /time Magazine | Title: Opera: Flowery Flute | 3/3/1967 | See Source »

...Dandy on flute: A dapper dresser, he is as flighty as his instrument. He mischievously delights in tripping up the conductor with his superior musicianship...

Author: /time Magazine | Title: Orchestras: Psychic Symphony | 2/17/1967 | See Source »

...over the difference between what he is told and what he painfully finds out about the way things really are. As set down with disarming simplicity by Romero, Pito's story is "the dialogue between a poet and a madman." His travels with what he calls his "prodigious flute," a pipe whittled from bamboo, lead him all through the state of Michoacan and always take him back to the village of Santa Clara del Cobre, his bitterly loved and hated birthplace...

Author: /time Magazine | Title: Books: Opera for a Penny Whistle | 2/17/1967 | See Source »

...explored the full range of the instrument, ricocheting be tween hoarse blats and urgent bleats, pouring out great churning whirlpools of sound. Dipping and bobbing as he played, he flew off on melodic tangents that were by turns coy and playful, ten der and savage. Then, taking up his flute, he turned philosopher, evoked the soft and misty moods of a man looking back on sunnier days. Love Vibrations. Lloyd is the newest prophet of New Wave jazz - the freeform explorations made familiar by such saxmen as John Coltrane and Ornette Coleman. His rapport with his sidemen, especially inventive Pianist...

Author: /time Magazine | Title: Jazz: Dolphins on a Wave | 2/3/1967 | See Source »

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