Word: kallman
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...that time, Attilio had finished his British sentence and was ready to take over things again. But the unexpected happened at long last: one of the girls talked. Ill, exhausted and unwanted after ten years' labor for the Messinas, 39-year-old Edna Kallman told the police that Attilio hired a maid to watch her, and to knock on her bedroom door if she spent more than ten minutes with a client. Once, when she complained of having to work daily, in sickness and in health, he shouted: "I'm tired of this! I could...
...while the singers, in modern evening dress, sang on all sides of it. Aside from a reluctance to act as lustily as the text indicated, the cast, headed by Gloria Lane and Jon Crain, gave a good account of itself. The voices were sonorous and the singers pronounced Chester Kallman's translation very carefully. The opera's closing duet, "O Beloved," is one of the most lovely lyrical pieces ever written...
...sweeter. The brilliant music was matched by TV Director Kirk Browning's elegant camera shots, and the designs made of heads and bodies by Stage Director George Balanchine. It was not quite matched by the singable but self-conscious English text by W. H. Auden and Chester Kallman, but it all added up to the finest TV opera to date...
...capitals, more used to new operas than the U.S., had taken The Rake pretty much in stride since its Venetian premiere (TIME, Sept.24, 1951). But as the first modern work the Met had produced in five years, it seemed pretty effete. Written by Poet W. H. Auden and Chester Kallman as an 18th century moral fable, The Rake's book pointed its moral more in irony than in earnestness, had a minimum of dramatic action onstage, and for its biggest bit of comedy wagged its lean finger at a bearded lady. What the audience saw was an expensive series...
...18th Century man about London. He first saw the paintings four years ago, had an immediate "theatrical reaction." Moreover, he found the paintings full of "a morality I respect." Stravinsky decided to translate Hogarth into opera. He got distinguished help from Poet W.H. Auden and Brooklyn-born Chester Kallman, who worked up an English libretto with a Faustian theme; Poet T.S. Eliot lent a hand with the final polishing...