Word: giulio
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Dates: during 1960-1969
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Fresh off the boat from Italy, gourd-shaped Giulio Gatti-Casazza heads straight for Manhattan's Metropolitan Opera. As the newly appointed general manager of the Met, he is eager to have a look at his new home. Mama mia! What he sees is enough to curl his beard. It's bad enough that the exterior looks like a brewery. But the backstage area is so cramped that it can hardly accommodate a P.T.A. pageant. Principal singers, he finds to his horror, have to rehearse in the ladies' powder room; scenery is stacked behind the building...
Every year Metropolitan Opera General Manager Rudolf Bing, 64, edges closer to the record of Italian-born Maestro Giulio Gatti-Casazza, who ruled the house from 1908 to 1935. Last week Bing and the Met agreed that he should stay on through the 1970 season. That will give him 20 harrowing years...
...Adriatic Electric-along with Edison, one of Italy's five big pre-nationalization electric companies-and with it a $190 million expropriation payment still due from the government. Meanwhile, other nations gradually recognized Montecatini patents on such processes as Moplen, a light, easily molded polypropylene for which Chemist Giulio Natta won the 1963 Nobel Prize. Montecatini now holds 1,800 patents, fattens its income by licensing them in 30 countries. Sales are up 31% to $633.6 million this year, although rising costs continue to hold down profits...
...EUROPE OF THE CAPITALS 1600-1700 by Giulio Carlo Argan. 222 pages. Skira. $20. THE INVENTION OF LIBERTY 1700-1789 by Jean Starobinski. 222 pages. Skira. $20. The publisher's commendable ambition is to explore and explain Western civilization through its architecture and its art. These are volumes one and two in a series, simultaneously published in English, French, German, Italian and Spanish, that will ultimately number 14. The Europe of the Capitals, with text by a professor of art history at the University of Rome, traces the decline of feudal nobility in Europe and the emergence...
...fierce but loses much of its bite toward the end when Director Morassi begins to moralize, using cinematic italics merely to emphasize that a poor honest slob is better off than a well-fixed heel. By the time Giulio has learned how to succeed, he is jobless, friendless, wifeless and miserably rich. It is left to Gassman to give the film lightness and laceration. He is the compleat climber, abristle with tight-smiling assurance and an air of faintly desperate camaraderie that makes Il Successo's trumped-up sociology seem like the whole truth...