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...most engaging personality was George Brown's as Frederick. Along with his properly idealistic and star-struck look, he also has a good voice. As his misguided but well-intentioned nurse, Anne Hardwood behaved like a fugitive from Medea; a bit frantic but riproaring. The Major-General was played most modelly by Owen Jander; from his House of Lords gait to his Victorian disdain, Jander was excellent...

Author: By Robert H. Sand, | Title: The Pirates of Penzance | 4/11/1957 | See Source »

...trumpets out a stinging dramatic climax. Like her operatic sisters of a century ago, La Callas can sing anything written for the female voice. Because of her, La Scala has revived some operas (Mozart's Abduction from the Seraglio, Verdi's Sicilian Vespers, Cherubini's Medea) that it had not staged for years because no modern diva could carry them...

Author: /time Magazine | Title: Music: The Prima Donna | 10/29/1956 | See Source »

...decade ago Samuel (Adagio for Strings) Barber wrote a piece of music for Dancer Martha Graham called Cave of the Heart. It dealt with a Medea-like woman whose consuming love turned to hate and revenge; the score followed the choreography closely in mood and motion. Last week Dimitri Mitropoulos and the Philharmonic-Symphony played Barber's recomposition of the same scenes, called Medea's Meditation and Dance of Vengeance. It turned out to be a meatier work for full symphony than as a dance accompaniment, with the same virtues-and the same faults-that have made Barber...

Author: /time Magazine | Title: Music: Medea by Barber | 2/13/1956 | See Source »

...vividly mysterious opening figure on the xylophone, and two flutes that appear to bump and separate like a pair of slow-motion dancers. Chief fault: thematic aimlessness. After the promise of those opening bars, the next part of the brief score is limp and weary-a routine expression of Medea's mother love...

Author: /time Magazine | Title: Music: Medea by Barber | 2/13/1956 | See Source »

Stylish Stout. Last month she undertook still another operatic assignment, in the name part of Cherubini's Medea, done in concert form in Manhattan's Town Hall. The role is one of opera's most difficult, but it held no terrors for Soprano Farrell. During rehearsal her attitude was playful. She kidded the French horn player for a minute burble, grinned delightedly at the violins when they produced a soaring harmony. While her voice was deep in Medea's wells of grief, jealousy, and hatred, she artlessly combed her hair for a press photographer...

Author: /time Magazine | Title: Music: Stolen Island Soprano | 1/2/1956 | See Source »

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