Word: ginastera
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...went through a program of Beethoven, Mozart, Stravinsky and William Schuman that filled the center's concert hall with rich, vibrant and joyously reverberant highs, lows and middles. The opera house's acoustical turn came on Friday, with the premiere of Beatrix Cenci by Argentinian Master Alberto Ginastera. It was produced by the Opera Society of Washington. Brutal and bloody, the work runs a full gamut of orchestral and vocal sound. It proved beyond doubt that the opera house is one of the best-sounding auditoriums...
...more ways than acoustics, Beatrix Cenci was a remarkable climax to a successful inaugural week. When it comes to piling horror on horror, Ginastera outclasses anyone now writing for the operatic stage. Beatrix Cenci can best be described as Renaissance Gothic. Based partly on history, partly on the Shelley tragedy, it tells how a young Roman noblewoman (Soprano Arlene Saunders) is seduced by her choleric, morally corrupt father. Count Francesco Cenci (Bass-Baritone Justino Díaz), then revenges herself by arranging his murder. In the end, she is found out, tortured on the rack, beheaded. Not a libretto...
...orchestra performs alone in the Haydn "Drum-roll" Symphony and the Variaciones Concertantes of the Argentine composer, Alberto Ginastera. The latter involves solos from all sections of the orchestra including an extremely flashy violin variation played by Robert Portney '74. The rest of the orchestra's personnel includes members of the tennis, lacrosse, swimming and baseball teams, an ex-conductor of the Bach Society, the daughter of a world-famous harpsichordist, a former House Master, an oboist who does remarkable animal imitations, and, pound for pound, the greatest tympanist in the world. This unusual aggregation will be conducted by Martin...
...hoped to modernize the repertory. This season Mehta sandwiched a few more or less contemporary works in with the normal rich diet of Haydn, Beethoven and Brahms. A Bartok violin concerto, a Hindemith symphonic piece, Robert Starer's Samson Agonistes and a piano concerto by Alberto Ginastera all appeared on the programs. Mehta even worked in Prokofiev's Violin Concerto No. 1, though its jagged musical qualities are rather daring by Israeli standards. The players were happy to get away from the old warhorses, but the management was troubled, especially when empty seats-as rare for the I.P.O...
Superstar occupies the same assimilative position in the pop world that Ginastera's Don Rodrigo does in serious opera. Webber and Rice do not outdo the Beatles or the Rolling Stones or the Edwin Hawkins Singers, Prokofiev, Orff, Stravinsky or any other musical influence found in their work. But they have welded these borrowings into a considerable work that is their own. Tommy (TIME, June 22) was the first, flawed suggestion that rock could deal with a major subject on a broad symphonic or operatic scale. Superstar offers the first real proof. William Bender