Word: krachmalnick
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Francisco's Jacob Krachmalnick, 44, has played first fiddle in Philadelphia and Amsterdam, spent one year as an artist-in-residence at the University of California, and then fled ("Everybody sits around on their tenures; it's no place for professionals") to the San Francisco. The orchestra's 30-week season suits him perfectly, since it gives him time to tour with his chamber-music trio and spend lucrative summers playing film scores in Hollywood...
...Samuel Krachmalnick, 33, has signed a two-year contract with the Zurich Opera. Reputed to be a passionate hater of singers, Krachmalnick longs to conduct in the concert hall but has proved so successful at Zurich that he is already tabbed as one of the world's ranking Wagnerians. St. Louis-born Krachmalnick played French horn in Washington's National Symphony, became convinced from careful scrutiny of guest conductors that "if these jokers can do it, it's got to be easy." From Juilliard, where his early attempts at conducting were roundly panned, he graduated to conducting...
...time, "and I wonder if there's any future in it." Mezzo Lane sang her first traditional operatic roles at Manhattan's City Center-Carmen, and Amneris in Aïda, neither of which she had ever seen. Now married to St. Louis-born Conductor Samuel Krachmalnick, Mezzo Lane has sung Carmen so frequently and exhaustingly in recent months that she has had to drop virtually everything else-even, she reports, "making love." A fiery, volatile woman, she regrets only one thing about the role-the succession of Don Joses she has to deal with. "Most tenors," says...
Curtain Up. Day before the Brussels opening, Music Director Samuel Krachmalnick set about rehearsing a pickup orchestra of phlegmatic Flemings. A Brussels milliner, working from a photograph, in six hours ran up helmets for The Combat. At the scheduled time, in the U.S. Pavilion theater, the curtain rose on the Ballet Theatre. The first work on the bill was Theme and Variations, but variations predominated: girls in Sylphides tutus and men in tights, which had just arrived from New York, leaped and twirled against a backdrop from Gala Performance...
...flowing back and forth." Richter gave Prokofiev's tongue-in-cheek score a kaleidoscopic range, resisted the temptation to lushness in the concerto's lyrical passages or to percussive effects in its driving climax. "He tossed it off," said the Philadelphia's awed Concertmaster Jacob Krachmalnick, "like walking through a garden...