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...Dallas Civic Opera, a kind of tumbleweed La Fenice, since the late 1950s has been the place where Americans first saw such stars as Joan Sutherland, Jon Vickers and Placido Domingo in opera. Vickers returns to help open the season Nov. 5 in the rarely heard Samson by Handel. The up-and-coming Greater Miami Opera Association does not hit its stride until the sun seekers' stampede from the Northeast begins, but in its emphasis on big names and traditional works, it sometimes outdoes Dallas. Miami will open with Cesare Siepi in Boris Godunov (Jan. 17). Later...

Author: /time Magazine | Title: The South/music: MoreThan Just Pickin' | 9/27/1976 | See Source »

...Schumann and Tchaikovsky-the latter having conducted at Carnegie Hall's opening night in 1891. "May the Lord have mercy and forgive us for what we are about to do," said Stern, smiling, before joining his friends in the final number, a spirited but flawed vocal rendition of Handel's Messiah...

Author: /time Magazine | Title: People, May 31, 1976 | 5/31/1976 | See Source »

Lisa Goldman '74 plays a piano recital of 3 B's. Bach's Prelude and Fugue (B major, W.T.C. Book II), Beethoven's Sonata Opus 10 No. 3, Brahms's Handel Variations. Mather Dining Hall...

Author: By Judy Kogan, | Title: Music | 5/28/1976 | See Source »

...just as his career was beginning to soar, Perahia grounded himself. Success, he explains, "took me by surprise. Suddenly there was no time for anything else. I was labeled a specialist in Chopin and Schumann. Now that's not bad. But I also wanted to learn more Handel, Brahms and Haydn, whether or not I played them in public." He also decided he was "not really a piano buff," that he was more "interested in the ideas behind the music" than in one instrument...

Author: /time Magazine | Title: Music: Poet of the Piano | 5/3/1976 | See Source »

...social class in Spanish society, as became apparent to the world when it was shown at the Cannes film festival. Beggars take over a rich man's house and stage a ghastly version of the Last Supper. The best tough in the film is Bunuel's use of music: Handel's Messiah during the beggars' feast and then Chuck Berry when all hell breaks loose at the end. One of his very best films, much more original than his senile and commercial successes of recent years, such as The Discreet Charm of the Bourgeoisie...

Author: By Peter Kaplan and Jono Zeitlin, S | Title: Film | 4/15/1976 | See Source »

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