Word: lazar
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
Come sundown, businessmen who wouldn't be caught dead in the office with anything but a clean-shaven face add paste-ons for a bristling night on the town. "It's strictly for evening wear, for theater and discotheques," says Dr. Allan Lazar, 30-year-old Manhattan periodontist, describing his new mustache and goatee. Sybil Burton Christopher reckons that at least half of the popular Pancho Villa or Zapata mustaches seen in her Manhattan discotheque, Arthur, are phonies. Narcotics agents regard hoked-up hairiness as an invaluable aid in infiltrating hippie drug circles, and servicemen feel an added...
Anything Goes. Between the Donadios and the Merediths, the thriving agency business is rich with specialists who represent, in varying degrees, some combination or permutation of the two. Irving Lazar is a Hollywood agent who concentrates almost exclusively on sales to film companies. Attorney Paul Gitlin represents Harold Robbins, among others, as both lawyer and agent...
...Beethovan Mass in C, Op. 86, Joel Lazar's Cantabrigia Orchestra joined the chorus to give a performance which had moments of both inordinate inspiration and egregious sloppiness. Coordination between the two forces was haphazard, this due to Schmidt's sacrificing clarity of beat in favor of a continuous, feverish intensity of motion. He huffed and he puffed, he grimaced with grief, he smiled with beatific joy. Sometimes he succeeded (usually in fortissimo passages), but most often he was unable to convey any unified conception of this difficult and eccentric master-piece. Of the four vocal solists, Barbara Wallace...
...Lazar chose a program of three chestnuts - or, more accurately, two oaks separated by a lilac bush. Wagners Meistersinger Prclude, Vaughan Williams Serehade to Music, and Beethoven's Eroica...
...evening's best playing came in the first three movements of the Eroica. Lazar led with authority, observed all the repeats, and superimposed no un-indicated retards. The tone had body, and the rhythm had vitality. Carl Schlaikjer's oboe-playing and Daniel Farber's kettledrumming were particularly expert; and all the hornists negotiated their treacherous parts with real heroism. There were some bad moments, such as the ragged fiddling at the start of the first movement's coda and the end of the funeral march; and a woodwind passage in the trio of the scherzo was muffed the first...