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Word: london (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...show in London is full of 17th century surprises...

Author: /time Magazine | Title: Art: After Titian, Venice Observed | 9/24/1979 | See Source »

...nothing is unrevivable-as an exhibition of 54 paintings from 17th century Venice which opened two weeks ago at London's National Gallery abundantly shows. Organized by Art Historian Homan Potterton, and composed of paintings from British and Irish collections, it is the first show ever given to this subject in England. It makes a distinct contribution to art scholarship&-and, in an alternately dry and overripe way, provides real visual pleasure as well...

Author: /time Magazine | Title: Art: After Titian, Venice Observed | 9/24/1979 | See Source »

...friend Terry McEwen, a top executive of London Records and general director-designate of the San Francisco Opera, senses a new maturity and security: "He knows the public loves him for himself, not only for his voice. If he lost his voice tomorrow, they would still love him. He could go on performing, he could be a different kind of star." That is a mind-boggling thought for the operatic mind. Could Pavarotti's ultimate destiny be to replace Johnny Carson...

Author: /time Magazine | Title: Opera's Golden Tenor | 9/24/1979 | See Source »

...monumental ego is built into a performing temperament like Pavarotti's?it has to be. Yet his associates agree that he has succumbed to no more than a mild case of "tenoritis." Last month, while recording Rossini's William Tell in London, he flared up over the balance between his voice and the orchestra. "Why do 1 sound as if I'm singing in another room?" he shouted after hearing a playback. When the producer defended the balance, Pavarotti slammed his score shut and stomped out of the studio. But the next day he was back to try again. "Luciano...

Author: /time Magazine | Title: Opera's Golden Tenor | 9/24/1979 | See Source »

...Says Eugene Kohn, a former accompanist and coach of Pavarotti's: "There was fear that he would lose the bloom of sound and the top notes. But if the repertoire stays too light, you don't give the voice free rein. I recently heard him in Luisa Miller in London, and ins voice was fantastically enriched for having sung heavier parts." Pavarotti is preparing the formidable role of Radames in Aida for San Francisco in 1981. Lohengrin may even be down the road some day. "I continue to take risks," he says. "I could spend the rest of my career...

Author: /time Magazine | Title: Opera's Golden Tenor | 9/24/1979 | See Source »

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