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...clashing poles clapped together in an accelerating syncopated rhythm. The dancers-many of them in their teens-showed a simple, unsophisticated enthusiasm that kindled a sense of joy in the audience. At a party after the opening night performance they decided to express their gratitude to Impresario Sol Hurok by serenading him as "Lolo," meaning Grandfather. They picked that particular form of address, one Filipina explained seriously, "because he has been so helpful to us; besides...

Author: /time Magazine | Title: Music: Curtains Up! | 10/26/1959 | See Source »

...Bolshoi Ballet is the most extravagantly praised and least frequently viewed wonder of the world. The company's triumphant London visit three years ago (TIME, Oct. 15, 1956) marked its first appearance on a Western stage. Last week, amid box office uproar (see SHOW BUSINESS), Impresario Sol Hurok finally welcomed the Bolshoi to Manhattan for the start of a nine-week cross-continent tour. The long-awaited look was not a disappointment. But, as with many such wonders, the anticipation was somewhat more exciting than the actuality. In the initial performances at least, the visitors demonstrated a technique linked...

Author: /time Magazine | Title: Music: Bolshoi at the Met | 4/27/1959 | See Source »

Boston University Sol Hurok, impresario L.H.D...

Author: /time Magazine | Title: Education: The $1,000 Word | 6/23/1958 | See Source »

Reliving the good old days on Line 23, Russian-born Impresario Sol Hurok, 70, returned to the scene of his first U.S. job (as a conductor on Philadelphia trolleys in 1906), picked up a whereas-laden scroll from the city council, honoring him for his contributions to Philadelphia culture, put on a visored cap and an owlish mood to collect a symbolic token or two. Hurok sheepishly admitted that he was fired from the job "because the dispatcher soon found out that I was letting passengers off at the wrong corners...

Author: /time Magazine | Title: People, Jun. 16, 1958 | 6/16/1958 | See Source »

...talents also followed a pattern familiar to other young instrumentalists: one big prizewinning season followed by relative obscurity. Most musicians blame the concert-management system for this state of affairs far more than they do the public. Between them, Columbia Artists Management, the National Artists Corporation and Impresario Sol Hurok control 90% of the soloists and instrumental groups touring the country. To the beginning artist, the Big Three offer irresistible bait: a chance to tour the country for pay and to build a reputation. But the reputations are built in New York, and the pay, when fees and traveling expenses...

Author: /time Magazine | Title: Music: The All-American Virtuoso | 5/19/1958 | See Source »

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