Word: maestro
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Dates: during 1960-1969
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...York audience, nurtured in the Metropolitan Opera's grand-opera tradition, found a welcome change in Fasano's creation of an intimate, two-century-old court tradition. They chuckled when Italian Clown Sesto Bruscantini scored a solid single in Cimarosa's 18-minute solo opera Il Maestro di Cappella, and then roared out loud as Bruscantini and Carlo Badioli, an even funnier man, rapped out a two-bass hit with the huffa-buffa La Cambiale di Matrimonio, Rossini's first stage work. This week the troupe will pack the show on their backs for a brief...
Some conductors will do anything to get an audience. Last week at a regular concert of the Los Angeles Philharmonic, Maestro Zubin Mehta showed motion pictures. Now, it is well known that in Hollywood country, people will come out to see anything on film. And it is equally well known that when it comes to introducing new music, Mehta is a genuine 20th century fox. But wasn't this carrying show...
...manager, treasurer, director and conductor of the ten-day Easter Music Festival at Salzburg, Herbert von Karajan, 59, takes on the most exhausting one-man musical spectacular since Richard Wagner ran Bayreuth. For the past month, however, the Austrian-born maestro has been flat on his back in hospitals in Munich and Paris, suffering first from flu, which developed into double pneumonia, and more recently from painful and incapacitating nerve inflammations in both legs. Though Von Karajan's recuperative powers are supposed to be second only to those of Lazarus, even his doctors are wondering whether he will...
Some of the blame for the production rests on Miss Horne herself, for she brought along as conductor her husband, Henry Lewis, whose contribution to the musical world may be generously dismissed as pathetic. Maestro Lewis knows a few tricks of the trade: he understands how to keep the beat, he can make the orchestra start and stop together, and he never lets the baton fall out of his hand...
Miss Horne's greatest triumph lay in overcoming her own substantial bulk. In the first act, largely because of Maestro Lewis' absurdly fast tempi in the Habanera and Seguidilla, her Carmen seemed only a winsome, fat slut, but the virtuosity of her singing and acting for the rest of the opera made it easy to believe every man in sight found her irresistible. Her sensuous voice moved with perfect flexibility from the dark richness of a Leontyne Price to the brilliance of a Birgit Nilsson. The weight of her low register in the Tarot Scene was miraculous, and the delicacy...