Word: goltz
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...foot pedestals a stage width apart, one with an end of a wire about her neck, the second holding the other end with her teeth. A man mounted the slack wire, stretched himself out flat-backed and flipped himself over and over. The gymnasts were Germany's famed Goltz Trio, making its successful rounds of the U.S. vaudeville circuit 40 years ago. Last week Christel Goltz, the wire walker's 34-year-old daughter, made her U.S. debut as another kind of acrobat: at New York's Metropolitan Opera she zoomed through the high, precarious passages...
...Soprano Goltz whirled, rolled and jumped across the stage as if she were trying to revive her father's old act. As Herod's stepdaughter, she covered more mileage on foot, belly and back than any Salome in memory. But she gave an overpowering impression of the willful, depraved teenager, from her disheveled entrance to her final kisses on the lips of John the Baptist's severed head. Soprano Goltz (a strikingly versatile singer with a repertory of 116 roles, ranging from Musetta to Elektra) is most famous for her appearances in Richard Strauss's operas...
Perhaps the only thing wrong with Salome was the "Dance of the Seven Veils," which was about five veils too long. It is musically insipid in an otherwise brilliant score, and Soprano Goltz, though originally trained as a ballet dancer, did not make it seem any better as she determinedly stripped to her white petticoat. Otherwise, Salome emerged as the great opera it is, its nervous, passionate music brilliantly conducted by another newcomer to the Met, the New York Philharmonic-Symphony's Dimitri Mitropoulos. With his long arms and shiny bald head making him look like a gnome...
...contained such novelties as a jitterbug scene with boogie-woogie background. Nevertheless, first-nighters felt it was low on drama and without a decisive style of its own. Despite the efforts of Conductor George Szell and the cast, the audience clapped coolly. Success of the evening: Star Christl Goltz, who sang Penelope with the cold but brilliant voice that has made her one of the finest dramatic sopranos on the Continent. Her own feeling about Penelope differed from the majority: "We can be thankful that a modern work is as strong as this. The world goes...
...have so much stage impact that even traditionally conservative Austrians were bowled over. They hardly had time to notice the fact that Berg's music was full of wrenched, tortured and distinctly unconventional effects. Baritone Josef Herrmann sang the title role with pathos, but no mawkishness. Christl Goltz, currently one of Germany's most popular sopranos, was forceful as the wanton mistress. For Stage Director Oscar Fritz Schuh and Conductor Karl Boehm, who produced Wozzeck in the early '30s, it was like old times. When it was over, Wozzeck got an ovation...