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When he left the Metropolitan Opera in 1957, Tenor James McCracken was understandably bitter. In four black years at the Met, he had been all but buried beneath a mountain of spear-carrier costumes. "I was pretty disappointed." he says now, "but I was determined to come back singing the great parts." Last week McCracken came back, and in grander style than most spear carriers could dream of: he sang Otello in the premiere of a lavish new Met production...

Author: /time Magazine | Title: Opera: A Day's Work | 3/22/1963 | See Source »

From the first note of the Esultate that introduces Otello, McCracken was in perfect control. His powerful portrayal of Otello's fatal jealousy had just the right measure of Moorish grief to provide motive enough for murder, and agony enough for a whole flight of heroic high notes. His voice sailed easily over the orchestra even when the musicians were at excessively symphonic pitch-the one element of real excitement in an otherwise hushed performance...

Author: /time Magazine | Title: Opera: A Day's Work | 3/22/1963 | See Source »

Those words of Reader Michael McCracken [Jan. 11] about the "outdated and archaic beliefs and customs" of Christianity dare not go unchallenged...

Author: /time Magazine | Title: Letters: Jan. 25, 1963 | 1/25/1963 | See Source »

...MICHAEL MCCRACKEN...

Author: /time Magazine | Title: Letters: Jan. 11, 1963 | 1/11/1963 | See Source »

Headquartered in Waco, McCracken's company is housed in a modern, $150,000 building, has an electronic computer for subscription lists; he owns a Beechcraft Bonanza, which he pilots himself to sales meetings. Son of a Baptist preacher, McCracken still finds time to do some lay preaching. "There is more than just a commercial reason for being in any business," he says. "I'm just lucky that I'm able to accomplish so much good in mine...

Author: /time Magazine | Title: Religion: Religion on Records | 12/14/1962 | See Source »

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