Word: marietta
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Seawell has hand-picked replacements for Lindbergh, Trippe and former Treasury Secretary John Connally, who also will not stand for reelection. They are Financier Sol Linowitz; Marietta Tree, a city planner and former chief of the U.S. delegation to the U.N.; and Lowell Dillingham, scion of an old Hawaiian family. Only Dillingham appears cast in the elegant Trippe mold. Though a Boston Peabody, Mrs. Tree is known for her liberal views. Linowitz, a sagacious businessman, is expected to give Seawell tough-minded support...
...Wunderkind in Europe. When he was a teenager, his works were performed by Pianist Artur Schnabel and Conductor Bruno Walter. In 1921, when Korngold was 24, his third opera, Die Tote Stadt (The Dead City), was staged at New York's Metropolitan Opera. In the leading role of Marietta was Soprano Maria Jeritza, making her Met debut. The American public took to Jeritza but not to Korngold, and after a few years it forgot him as a serious composer...
...Wagner-a brilliant but minor follower. The style of Die Tote Stadt is a lush, clamorous, occasionally schmaltzy orchestral sonorama that lies somewhere between Der Rosenkavalier and Elektra, with special added effects from Puccini, Debussy, Mahler and Rimsky-Korsakov. The best of its vocal moments, like the taunting Marietta's Lied, sound like pure Franz Lehár, the master of popular Viennese operetta...
...romance by a minor Belgian writer named Georges Rodenbach. Korngold knew an unusual story when he saw it. The hero, Paul (Tenor John Alexander), lives sorrowfully in Bruges, with the memory of his dead wife Marie, her portrait and a long switch of her hair. Into his life comes Marietta, a saucy dancer who resembles Marie. In a long dream sequence, Paul woos Marietta. But when she teases him about the dead woman's hold on him, he strangles her with Marie's hair. He awakens cleansed of his obsession, free to leave the "dead city" of Bruges...
...other reasons than to inspire the finest film and slide work ever done for an opera production in New York, and to observe Soprano Carol Neblett as Marietta. With a full, sexily luscious dramatic soprano and a figure to match, Neblett is fast becoming the Rita Hayworth of American opera singers. As for the music, the sad thing is that though Korngold was a master of the various orchestral styles prevalent around 1920, and often used them with ingenuity and some originality, he never grew beyond that point...