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Once upon a time a certain Herr Drosselmeier, a hunchbacked, cranky old toy-maker, fashioned a very special toy--a nutcracker--and gave it to little Clara Siberhaus at her parents' Christmas party. While the grown-ups dance a minuet, Clara's pesky brother Fritz snatches the nutcracker out of his sister's arms and dashes it to the floor. She gathers the damaged toy in her arms and to attempts to nurse it back to health...

Author: By Kerry Gruson, | Title: The Nutcracker Suite | 12/20/1967 | See Source »

...mention such odd fictive figures as the Bagman and the Crook. In a novel of this picaresque kind, an orgy is to be expected sooner or later. Gog's orgy comes promptly and seems to be under pre-Christian Druidic auspices, though the Marquis de Sade and Herr von Sacher-Masoch are present in postures appropriate to their eponymous status. Gog meets his spiritual twin, an evil ogre called Magog. He also finds a bastard brother, and eventually learns his own name, Arthur George Griffin. A baleful woman named Maire, who has made several attempts on his life, turns...

Author: /time Magazine | Title: Books: Pilgrim's Regress | 9/1/1967 | See Source »

...most powerful -Spanish ecclesiastical invention since the Jesuits. Many Spaniards call it "Octopus Dei," and in Argentina it is widely believed to be a "holy mafia." Many Jesuits, in particular, consider it heretical in both concept and practice-a sort of Catholic freemasonry. Spain's Diplomat-Journalist Ismael Herráiz charges that Opus Dei already "controls the organisms that control Spanish economic policy and is in a hurry to appropriate the instruments of social policy." In Spain, rival factions within the Franco regime as well as its illegal democratic opposition both consider Opus Dei the principal threat...

Author: /time Magazine | Title: Spain: God's Octopus | 5/12/1967 | See Source »

...ensemble of 26 singers and 11 instrumentalists performed the cantatas "Der Herr denket an uns" (BWV 196), "Ich bin ein guter Hirt" (BWV 85), "Ihr Menschen, Ruehmet Gottes Liebe" (BWV 167), and the motet "Komm, Jesu, komm" (BWV 229) elegantly and unpretentiously. They produced a full but never heavy sound; the chorus's long threads of melody were sung smoothly and sensitively; the diction was inpeccable. Collins's phrasing and dynamics avoided the spectacular, but could be striking on occasion through their subtlety. He chose to take the final cadence of "Der Herr denket" simply and quietly, rather than grandly...

Author: By Robert S. Coren, | Title: The Cantata Singers | 2/13/1967 | See Source »

...Herr denket" did, however, suffer slightly through being somewhat uniform in sound, especially since the entire soprano section sang the soprano aria, and all the men sang the tenor-bass duet, for no apparent reason. Part of the function of these solos is to break up the homogeneity of the choral sound, and though the chorus sang lightly and clearly enough to prevent their sounding rough or gross, the listener missed the delicate sound of individual voices singing ornate lines clearly intended for solo performance...

Author: By Robert S. Coren, | Title: The Cantata Singers | 2/13/1967 | See Source »

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