Word: lyrically
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Divorced. By Mary Costa, 36, blonde and beautiful lyric soprano, who left a $150,000-a-year job as TV's Chrysler Girl for an opera career, making her widely acclaimed 1964 Metropolitan debut as Violetta in La Traviata: Frank Tashlin, 53, Hollywood writer-director of slapstick comedies (The Man from the Diners' Club); on grounds of cruelty; after twelve years of marriage, no children; in Santa Monica, Calif...
Waugh was deepened by his religion, and the deepening was steeply apparent in Brideshead Revisited (1945), a lyric celebration of Catholicism that alternates pious puling with the loveliest cadences he ever came upon. He was broadened by the war, and the broadening was vigorously displayed in his masterpiece, a 972-page trilogy (Men at Anns, Officers and Gentlemen, The End of the Battle) which is now widely considered the best British novel of World War II. In the trilogy Waugh creates in Apthorpe his greatest comic character, a Falstaff as funny, as tragic, as human as the huge original...
...plot is not the point. Buechner was concerned with destiny, not destinations, and Woyzeck, sensitively played by Heinrich Schweiger, is a lyric dirge to bruised humanity. The play is as durable and compassionate as the line that might have served as its epigraph: "Every man is an abyss, and you get dizzy looking into...
...name" singer, if any, in Miss Caldwell's production was Mexican operetta star Placido Domingo, who sang the title role of Ginastera's Don Rodrigo with the New York City Opera this season. As Hippolyte, his lyric tenor projected warmly and well controlled, with little hollowness or break between registers. Unfortunately, he is no Bergonzi; Domingo's sound is marked by continual tightness and lack of real ring. Perhaps his singing on unfamiliar French vowels was part of the problem. His acting usually remained typically tenoristic; that is, non-existent. But Domingo's forthcoming reappearance (opposite Renata Tebaldi...
...answers can be made. First, every lyric poem is rationalized to some extent on its model. All sorts of syntactic oddities are permitted in sonnets, for example, because they fulfill certain expectations, while the aesthetic order of a poem like Lycidas, random as it may seem today, is regular in terms of its formal cause: the genre. A poem on a "deep" subject--a poem as catholic in its intent as Paradise Lost--has no one model, but uses and subsumes many. Berryman had no model for the Homage to Mistress Bradstreet. Harte Crane's The Bridge...