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What finally explains Cleveland's eminence is the happy intangibles that previously elevated Stokowski and Philadelphia, Karajan and Berlin, and Solti and Chicago to musical supremacy: leadership, talent, discipline and desire, perhaps especially the last. "For musicians there's not much else to do here," Dohnanyi points out. "There's no opera, there's no freelancing; you don't come to Cleveland to enjoy the weather. You come here to play in the Cleveland Orchestra." And play they do, better than anybody...

Author: /time Magazine | Title: The Finest Orchestra? (Surprise!) Cleveland | 1/10/1994 | See Source »

Another listener was the late Herbert von Karajan, who asked her to sing some Bach at the Salzburg Easter Festival. The conductor died before the performances, but she treasures the experience of rehearsing with him. "Bach was another world to me," she says. "At the beginning I was always in a rush. Karajan taught me to take the tempo tranquilly, to take a breath. This is something I use for everything." To those names, add Sir Georg Solti, Zubin Mehta, Riccardo Chailly -- a stellar fan club...

Author: /time Magazine | Title: Opera's Roman Candle Newcomer | 12/14/1992 | See Source »

Beethoven's Fidelio, Herbert von Karajan...

Author: NO WRITER ATTRIBUTED | Title: The Arts in Review: | 5/18/1992 | See Source »

...blame for young talent's biggest hurdle: the temptation to learn roles that are wrong for the individual voice. It could be a too-high tessitura, the range of notes where most of a part lies, or too heavy a draatic role. Especially in his later years, Herbert von Karajan was a great seducer of semiformed talent because he sought a clear, pure voice in almost any female role. Freni, offered the declamatory Turandot, and Rysanek, the taxing Salome, resisted. The maestro never called again...

Author: /time Magazine | Title: Why Golden Voices Fade | 5/6/1991 | See Source »

...Rhine Maidens and warriors of the Teutoburg Forest. There are screenings of films whose display is still illegal in Germany, such as Hitlerjunge Quex, 1933, and Jud Suss, 1940. One can listen to a duet from Act I of Lohengrin, conducted by the young Nazi virtuoso Herbert von Karajan, or to SS marches...

Author: /time Magazine | Title: Art: Culture On the Nazi Pillory | 3/4/1991 | See Source »

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