Word: handel
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...best of performances. The ensemble is extremely fortunate to have had Gerald Moshell as their conductor the past three years. Moshell's imaginative programming allows his group to capitalize on the often unusual nature of the pieces rather than becoming just another chorus singing Handel and Bach...
...transformation did not happen quickly. Beverly was 37 years old when she broke through to international prominence in a 1966 production of Handel's Julius Caesar at the New York City Opera. She was 40 when she achieved La Scala. But, having bloomed late, she is at least blooming the way she does everything else?exuberantly. Her career surges ahead with ever growing momentum. Her itinerary looks like an airline route map, as she crisscrosses the globe to meet this year's schedule of more than 100 operatic, concert and recital appearances. To friends who urge her to slow down...
...that few of these new works are likely to be permanent additions to the repertory. "Of 20,000 operas written throughout history," he notes, "1 defy anyone to name 50 masterpieces." He has also dug brilliantly into the past to retrieve and remount such almost forgotten musical delights as Handel's Julius Caesar and Donizetti's Roberto Devereux...
...about as safe as a British soldier in Northern Ireland." Presumably, he will bring his sense of theater and his fondness for growth and risk to his tasks at Kennedy Center. His first two productions in Washington were Ginastera's strident Beatrix Cenci (TIME, Sept. 20) and Handel's rarely performed Ariodante. Though he hopes to invite La Scala, the Vienna Staatsoper and Britain's Royal Opera to Washington, he wants "nothing to do with a glorified booking house." Included in his future plans for the center are a series of programs of choral masterpieces that will...
...players caught the enthusiasm of the Messrs. Bressler, Murcell, and Ritchie, the evening would have been still more successful. Even so, a performance such as this with under fifteen people has infinitely more vigor than the cast-of-thousands approach used by the large opera organizations in their infrequent Handel offerings. Acis--along with Henry Purcell's chamber opera Dido and Aeneas--could make a strong case for baroque opera. It is a sad commentary on the form, however, that the better examples are really atypical...