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Word: librettos (lookup in dictionary) (lookup stats)
Dates: during 1920-1929
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Last week La Campana Sommersa, the music by Ottorino Respighi to a libretto by Claudio Guastalla taken from Hauptmann's play, had its U. S. premiere at the Metropolitan Opera House, Manhattan. Rautendelein was still its inspiration, Heinrich still the heckled human. And for it all Respighi had made lovely, lyric music. But operatic singers, operatic trappings rarely enhance a poetic mood. Soprano Elisabeth Rethberg as Rautendelein managed her bulk skillfully, sang difficult music easily, spent clear high notes' lavishly. But her appearance, her acting left little illusion. Nor could Giovanni Martinelli forget he was a tenor...

Author: /time Magazine | Title: Music: Sunken Bell | 12/3/1928 | See Source »

...first Russian art review Mir Iskusstva (Artistic World), which Serge Diaghilev edited. He designed the scenery for Alexander Borodin's Prince Igor, for Stanislavsky's production of Peer Gynt, for Stravinsky's Le Sacre du Printemps. For this last one he also wrote the libretto. Then came the Russian revolutions. His St. Petersburg became Petrograd, Leningrad. He hustled to New York (1920). In Manhattan he founded the Master Institute of United Arts, "uniting all the arts and giving to young America the spirit of creation." He founded another institution-Corona Mundi (Crown of the World), International...

Author: /time Magazine | Title: Art: Roerich's Return | 9/3/1928 | See Source »

Among the awards of the Guggenheim Fellowships, announced early in the week, was one to Countee Cullen, the Negro poet. Cullen who received an A.M. degree at Harvard two years ago, will use the fellowship to go to Paris to complete a series of narrative poems and the libretto for an opera. He is looked upon as one of the best modern poets to maintain the classical tradition. He is a contributor to Harper's and the Herald-Tribune "Books...

Author: NO WRITER ATTRIBUTED | Title: BOOKENDS | 3/24/1928 | See Source »

...happy blend of impressionism and historical realism. The operas are sung in English, not in the old hack translations, but in careful adaptations of the words to the music by Robert Simon, the music critic of The New Yorker. For 'Faust' he has prepared a skilfully adapted libretto, while for the other operas English versions have been carefully, though less originally, made...

Author: NO WRITER ATTRIBUTED | Title: NEW OPERA STARS PLEASE, IS OPINION OF CRITIC | 3/23/1928 | See Source »

...field of poetry, Countee Cullen A.M. '26, will go to Paris to complete a group of narrative poems and the libretto for an opera...

Author: NO WRITER ATTRIBUTED | Title: GUGGENHEIM RESEARCH FELLOWSHIPS AWARDED 15 HARVARD GRADUATES | 3/21/1928 | See Source »

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