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Word: medea (lookup in dictionary) (lookup stats)
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...MEDEA : Ah! Leave here? If this is to be my cruel destiny, In leaving, Medea Will tear out your heart! Cruel...

Author: /time Magazine | Title: Music: Cast Out | 11/17/1958 | See Source »

Remarkably composed despite the storm that was building up (see above), Soprano Callas rehearsed new productions of Traviata and Medea for two weeks with only occasional explosions of temperament. Both performances attracted capacity crowds, and Callas endowed both of them with the kind of artistry, witchery and passion that only she can convey. The Dallas Traviata used an intriguing gimmick by presenting the story as a long flashback, starting with Violetta on her deathbed visualizing the episodes leading up to her final illness. From the first curtain, when a soft light bloomed on the reclining Violetta, to the resignation...

Author: /time Magazine | Title: Music: Love Affair in Dallas | 11/17/1958 | See Source »

...music. I have taken music that has long been dead and buried and have brought it back to life again. If the time comes when my dear friend Renata Tebaldi will sing, among others, Norma or Lucia or Anna Bolena one night, then La Traviata or Gioconda or Medea the next-then, and only then, will we be rivals. Otherwise it is like comparing champagne with cognac. No-champagne with Coca-Cola...

Author: /time Magazine | Title: Music: Diva Serena | 11/3/1958 | See Source »

...Soprano Farrell and the San Francisco Opera, last week's opening-night performance of Luigi Cherubini's Medea was both trial and triumph. The title role is one of the most exhausting in all opera: Medea is on stage for 80 of the opera's 105 minutes, and during most of that time she is singing strenuously. But Medea also has its great moments, and it provides an ideal vocal showcase for a dramatic soprano. In the last five years, Maria Callas has virtually made the role over in her own fiery image (she will sing...

Author: /time Magazine | Title: Music: Medea & the Paddy Wagon | 9/22/1958 | See Source »

...Fields. Though they have since moved into major concert halls, Gamson, Oxenburg and Co. still produce works that are rarely if ever done by other companies in the U.S. or abroad-Gluck's Le Cadi Dupe, Purcell's Witch of Endor, Cherubini's Medea, Handel's Julius Caesar. Despite packed houses, the company's current deficit runs to about $35,000 a season-which in the opera business really adds up to a howling financial success. Contributions ("We never know where we're going to get the money") cover the losses...

Author: /time Magazine | Title: Music: Opera for Gourmets | 10/21/1957 | See Source »

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