Word: juilliard
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Dates: during 1950-1959
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...auditions in Seattle, Tulsa, the Twin Cities and Chicago put together). Almost every singer had got some of his or her basic experience singing in churches; some have sung with Denver's energetic young Greater Denver Opera Association. A few studied at Manhattan's Juilliard school...
...second disappointment was the all-American cast. For once, the Met stage was peopled by young, handsome, slender performers. But their Juilliard-type excellence somehow did not thrill. Baritone Theodor Uppman tried hardest and succeeded best as Papageno, the comical birdman; partly thanks to Ruth and Thomas Martin's competent translation, he put across his role with almost Broadway-like punch. Soprano Lucine Amara (Pamina) sang beautifully, and Roberta Peters (Queen of the Night) did her bell-like best despite a cold. But Tenor Brian Sullivan (Tamino) was dry-voiced and stiff-backed; Basso Jerome Hines, while...
...meetings of composers were brought about by the fullest fortnight of modern music Manhattan has ever heard. Chief instigators were the Juilliard School of Music, which commissioned 32 U.S. composers for its 50th anniversary celebration, and New York City's highbrow station WNYC, which stages an annual American Music Festival between Lincoln's and Washington's birthdays. With a handful of other outfits also producing 20th century music, there were no fewer than 236 compositions by 149 U.S. composers, as well as a few imports. Last week's standouts...
...Juilliard President William Schuman's revised Violin Concerto, played by Isaac Stern and the fine student orchestra, firmly led by Jean Morel. The concerto moved under a powerful drive (oldfashioned gear shift, not fluid) that led it into some stunning effects of developing tension. The violin was almost continually active, but it was frequently drowned in the tricky accompaniment; before it was over, the work had turned into a fancy juggling...
Schuman, who is now head of Juilliard Music School, has here written one of the best of modern symphonies. The work is built on a recurring chordal scheme, much like a gigantic passacaglia. The music does not surrender itself completely on a single hearing, but is well worth repeated listenings. The harmonies are rocky, the rhythms complex, but the orchestration is clean-cut and the symphony is beautifully paced. Ormandy and the Philadelphia give it a vigorous reading, and the recording is fine...