Word: laing
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Dates: during 1960-1969
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...mystery and confusion about him in death. The army denied reports of the execution; yet the doctors who examined him claimed that Che had died 24 hours after his capture. With a bullet in his heart, he could never have lived that long. Flying into Valle Grande from La Paz, Armed Forces Chief General Alfredo Ovando added to the confusion by claiming that Che had said after his capture: "I am Che. I have failed." More likely, the cocky Che would have spit defiance or, if too weak from his wounds, simply remained silent...
...La Scala, the fabled, 189-year-old queen of the world's opera companies, made its first appearance in North America last week at Expo 67. For per formers and audiences alike, the event turned out to be a compound of agonies and ecstasies...
Like the other opera troupes that have visited Montreal this year, La Scala had problems in trimming its sets and staging to fit the cramped dimensions of Montreal's Salle Wilfrid Pelletier. Unlike the others, it met the crisis with passionate disorganization: breaks between acts stretched out to 45 minutes, while bumps, crashes and muffled Italian curses were heard through the curtain. The productions themselves often recalled the bad old days when tempos dawdled indulgently, singers postured in front of improbable sets and acting was of the clutch-sob-and-stagger school. But by sticking to the 19th century...
Belting Their Best. La Scala's two Verdi productions, Il Trovatore and Nabucco, illustrated the company's faults-and how it turns them into virtues. Both performances tended to be concerts in costume. Nicola Benois' massive, upward-sweeping sets were effective in a traditional vein. Nabucco, in particular, had moments of rousing stagecraft, especially when a 35-ft. purple statue of Baal split down the middle and the surrounding temple exploded, filling the stage and auditorium with steam. But mostly the singers forgot about the drama and one another, turned toward the audience, and simply belted...
...La Scala's novelty for this tour was Bellini's I Capuleti e i Montecchi, a bel canto relic that the company recently revived after a century of relative neglect. A retelling of the Romeo and Juliet story that owes little to Shakespeare, Capuleti, with Bellini's intimate scale, pervading sweetness and utter predictability, is a distinct contrast to Verdi's powerful, primitive themes and vaulting imagination. But the company -notably the two leads, Tenor Giacomo Aragall and Soprano Renata Scotto-traded the flawed gusto of its Trovatore and Nabucco performances for restraint and quiet artistry...