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...absorbed the colossal Baroque style of Giovanni Gabrieli as well as the audacious innovations of Monteverdi, both Schutz's contemporaries and teachers, to forge a colorfully formal, intensely spiritual, quietly progressive style. In its unorthodox form, the Exequien looks forward to the cantatas of Bach and the oratorios of Handel. The work is characterized by an evangelical passion which perhaps only Bach and Verdi, in his singularly tumultuous idiom, were able to equal; and also by a supreme melodic beauty which is the result of consummate vocal understanding. It is maddening to hear Schutz only once every several years, while...

Author: By Chris Rochester, | Title: Early Music | 11/9/1968 | See Source »

Nixon won this state handily with 65 per cent to overwhelm Humphrey's 24 and Wallace's 11. Incumbent dove Frank Church won his Senate seat over his challenger, Fred Handel...

Author: NO WRITER ATTRIBUTED | Title: Around the Nation: How the People Voted | 11/6/1968 | See Source »

...commemorating the founding of Ipswich in 1633. He read the introduction to a 30-minute pageant he wrote depicting the place as it was back when, noting that there the "Puritan flame burned brightest." Then he sat in with the Ipswich Recorder Society for a few rounds of Handel and Scarlatti. "This town has been kind to me, even indulgent," said Updike. "It's let me live as just another citizen...

Author: /time Magazine | Title: People: Aug. 16, 1968 | 8/16/1968 | See Source »

...Ballad of Baby Doe. A quartet of music critics, bearing bouquets of flowery superlatives, utters the rousing paean, These Tired Ears Lo at Long Last Rejoice. They praise Beverly's performance in The Tales of Hoffmann-in which she portrays all three heroines. They worship her Cleopatra in Handel's Julius Caesar, a role whose vocal acrobatics are so demanding that the opera is rarely performed...

Author: /time Magazine | Title: Opera: Il Destino di Bubbles: The Libretto of a Success Story | 6/7/1968 | See Source »

...another one of those whose acting was twisted into an excessive show of will. Musically the show was a tour de force. The score is interesting enough to justify a detailed treatment impossible here, for it is at once one of Sullivan's most clever (witness the parody of Handel in the scene in which the sons are disarmed) and most serious. Several of the arias reflect his growing concern for the more traditional forms of grand opera. Given the unobtrusive staging it is possible to regard the orchestra with a certain concentration, and James Paul's direction is thereby...

Author: By Charles F. Sabel, | Title: Princess Ida | 4/20/1968 | See Source »

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