Word: ghosts
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
FALLA: LOVE, THE MAGICIAN AND THE THREE-CORNERED HAT (Deutsche Grammophon). Loren Maazel, conducting the Berlin Radio Symphony Orchestra, streaks through two famous ballet suites with much of Falla's own theatrical genius, and Grace Bumbry, as a girl chased by the ghost of her dead gypsy lover, gives an exuberant, shoes-off performance in her brief role. All hands seem to have caught the spell of old Andalusia...
...years, Mickey Mantle has come a long way from Commerce, Okla. This season it looked as though he had all but stopped. The once grand .365 of 1957 has withered to .281, and Mantle, his aching legs taped from ankle to thigh, has seemed merely a $100,000 ghost of a great, while the once fearsome New York Yankees flounder in eighth place, 19½ games behind the leading Baltimore Orioles...
Conrad Susa's incidental music is mostly just a series of sound effects. When Caesar's ghost appears to Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that...
...screen or stage, Author Albee's catalogue of the games people play tends to become repetitive, larded with Freudian case history, and building to a fairly preposterous climax. When George and Martha agree to lay to rest the ghost of their nonexistent teen-age son, there is solemn talk about the sterility of illusions, but the real issue appears to be a playwright's need to make his verbal fireworks add up to something...
...singing sometimes adds to the splendor of the music. James Paul, as the ghost Peter Quint, can evoke lurking evil, great power, and blinding charisma with his smooth tenor, and gives a truly frightening performance. The governess, Jean Marshall, has an accurate, pleasant voice that is sometimes too weak; but it is her acting, not her voice, which makes us care about her even more than we do about the beautiful, corrupted children. Their main difficulty is that their voices aren't quite strong enough; and in the chimes scene, where their hymn deteriorates into a satanic chant, the horrifying...