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...What do we mean by opera, anyway?" wonders Lloyd Webber. "And where does that put Phantom? Obviously there is a world of difference between Phantom and something like Sugar Babies. But there is no difference today between opera and serious musical theater." Indeed, the line between the two forms is becoming increasingly blurred. Postwar operatic history is a Sargasso Sea of shipwrecked hulks, great lumbering Establishment vessels launched with much fanfare but quickly sent to the bottom under their own weight. Many opera- house successes have come instead from composers outside the academic tradition. Sondheim's Pacific Overtures opened...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

...Lloyd Webber's forthcoming show, Aspects of Love, is not likely to be produced at the Metropolitan Opera House any time soon, but it appears to be the closest thing to a conventional opera he has yet composed. Based on the 1955 novel by David Garnett, a member of the Bloomsbury group, Aspects is an intimate chamber work that examines the lives and loves of a small circle of friends. "Aspects will come out closer in scale to a kind of Mozartian piece," promises the composer. "It will require from me a very firm technique, and the scenes will have...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

...move along" has been a professional tenet with Lloyd Webber, who leaves as little to chance as possible. His whole life and career can be seen in terms of his desire to master a situation, then go beyond it. On the most basic level, there is his insistence on dominating everything related to his music. With a nose for business as keen as his faculty for churning out hits, Lloyd Webber keeps the reins of power tightly in his hand. No matter where he is, he is often on the phone to the staff at his London-based production company...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

...Really Useful Group (the name derives from the Really Useful Engine, a recurring phrase in the Wilbert Awdry series of children's books that enthralled Lloyd Webber as a boy) comprises a producing organization, a music- publishing company, a record division, a video company, Aurum Press and the Palace Theater London Ltd., the last a separate entity that currently houses the London production of Les Miserables. Lloyd Webber is a nonexecutive member of the board (so is Rice) who owns about 40% of the stock but is not actively involved in management. When the company went public two years...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

...Mackintosh, who co-produced Cats, Song & Dance and Phantom. "It runs parallel with his creative talent. He understands showmanship: knowing how to launch a song, finding the right artist to promote it, doing the right programs and interviews. All of these things he does with consummate skill." Probably only Lloyd Webber could have written his Requiem as a memorial to his father and then turned the Pie Jesu into a hit song (sung by Brightman and a boy soprano) that climbed to No. 1 on the British charts. To some, that was marketing savvy; to others, tasteless calculation...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

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