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...general, the Met was in good form all week. Furthermore, Director Bing proved to have some scenic surprises up his well-tailored sleeve when it came to the Met's 300th performance of Lohengrin. That good old standby, he modestly announced, had been somewhat restyled for the occasion. However, the only perceptible resemblance between the new Lohengrin and the old was in Wagner's four-hour score. Met Stage Director Dino Yannopoulos, 32, working with Designer Charles Elson of the company staff, took Josef Urban's rich old sets apart, reset the best of the gloomy...

Author: /time Magazine | Title: Music: Met's First Week | 11/24/1952 | See Source »

...Golden Age"; in Irvington-on-Hudson, N.Y. In Minnesota, where her father emigrated from Norway and set up as a Methodist lay preacher, she played the organ at his revival meetings, worked her way to Manhattan stardom, made a million, at her farewell appearance in 1914 (as Elsa in Lohengrin) took 40 curtain calls...

Author: /time Magazine | Title: Milestones, Apr. 30, 1951 | 4/30/1951 | See Source »

...played on the arrival of President Grant to open the centennial. A New York Times critic found it "as clearly Wagnerian as anything in Lohengrin," but crustily concluded that "all its beauties as a specimen of orchestral writing do not make amends for [its] lack of thought...

Author: /time Magazine | Title: Music: Restoration at Bayreuth | 2/12/1951 | See Source »

...theater is in her blood and background. Her father worked in Oslo's Central Theater as a violinist and conductor, her mother as a vocal coach. The first score that flaxen-haired Kirsten ever "yelled out" as a child was Gilbert & Sullivan's The Mikado. She learned Lohengrin before...

Author: /time Magazine | Title: Music: Isolde's Return | 1/29/1951 | See Source »

Fatal Potion. As late as Tannhäuser (1845), Hanslick considered Wagner "the greatest dramatic talent among all contemporary composers." But with Lohengrin, and Wagner's pronouncements about his "music of the future," Hanslick became disenchanted. He could not stomach Wagner's "exclusion of the purely human factor in favor of gods, giants, dwarfs, and their various magic arts." To Hanslick, drama should "present us with real characters, persons of flesh and blood, whose fate is determined by their own passions and decisions." He complained that even in Tristan the two principal characters are "governed by a chemical...

Author: /time Magazine | Title: Music: Thorn in the Flesh | 1/22/1951 | See Source »

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