Word: leonard
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Dates: during 1960-1969
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...Listen, a magazine beamed at serious music lovers by three serious music lovers: Leonard Altman, James Goodfriend and Arnold Foster. Sample article from its current issue: "Tone-Languages of Nigeria...
...Leonard Radcliffe, the novel's hero, is a frail, foul, moonstruck young man, the son of a troubled aristocrat who has taken a job as caretaker of his decaying family's decaying mansion. From his childhood it has been clear that Leonard is brilliant and in some way blighted. For several chapters, the best of the book, it seems that Storey intends to revive that abandoned form, the psychological novel. His dry, astringent description of Leonard's decline into adulthood is drawn from that curious middle ground between detachment and involvement that Dostoevsky used...
...LEONARD BASKIN-Associated American Artists, 605 Fifth Ave. at 49th. Ten etched portrait studies of Ensor, Bruegel, Callot and other figures from the past. As a portraitist, Baskin is incisive; crisscrossing a face as if tracing its nerve network, he seems to probe the subject's inner nature. His Munch is a memorable expressionistic achievement of the Norwegian painter's own aim to synthesize modern form and symbolic expression. Through April...
...Pianist Gary Graffman, who canceled a February appearance in Jackson after learning of the students' arrest. His place was promptly filled by German Pianist Hans Richter-Hasser (who argued that artists should be above involving themselves in social problems), but the boycott was gathering momentum. Conductors George Szell, Leonard Bernstein and Erich Leinsdorf all announced that they would not appear before segregated audiences, and they were joined by such performers as Risë Stevens, Leon Fleisher, Jaime Laredo and Julius Katchen. Artur Rubinstein declared that such a stand is "a right and natural step...
...With Leonard Bernstein and Franco Zeffirelli making their Metropolitan Opera debut together in a new production of Verdi's Falstaff, the Met was sure of a sensation. What kind of sensation was a different matter. Bernstein, never one to conceal any possible hidden talents, had not conducted in a major opera house in nine years. Zeffirelli, whose last crack at New York was a disastrous Broadway flop (The Lady of the Camellias), had signed on as director, set designer and costumer in a house where all three jobs are notoriously difficult. But when the curtains parted last week...