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Gian Carlo Menotti owes a large part of his fame to television and the fact that Amahl has replaced Tiny Tim as America's favorite Christmas cripple. Though Menotti's Amahl and the Night Visitors (1951), like Maria Golovin (1958), was written primarily for television, the composer carefully followed all the conventions of stage presentation, and both works have been sung in theaters. But Menotti has finally gone all the way. His latest opera, Labyrinth, commissioned like the others by NBC and shown for the first time this week, would be impossible on the stage...

Author: /time Magazine | Title: Music: Menotti's Hour | 3/8/1963 | See Source »

...Menotti's surrender has been almost too complete. Labyrinth is full of video trickery: there is a gravity-free tea party aboard a rocket, which is halted by the untimely arrival of a meteor; there is an ancient railroad car used as a swimming pool, which, as its water gurgles down a drain to the accompaniment of some electronic movie music, becomes a high-and-dry day coach; and there is a dear old lady who puffs into a cloud of dust as the hero sits down...

Author: /time Magazine | Title: Music: Menotti's Hour | 3/8/1963 | See Source »

...mahogany Marienbad. Endless corridors and countless doors make the plight of a bridegroom who has lost his key and forgotten his room number on his wedding night seem hopeless indeed. As he and his bride flounder around with understandable impatience, a series of personages appear, each bearing-according to Menotti-a strong allegorical identity. An old man in a wheelchair, who represents The Past, lures the groom into a cobwebby conservatory filled with jungle plants to play a possibly symbolic game of chess. Another door leads him into a drab office where a horn-rimmed boss-lady screams into...

Author: /time Magazine | Title: Music: Menotti's Hour | 3/8/1963 | See Source »

...Menotti has not had time within the framework of a television hour to develop either characters or unity of mood, has tailored his libretto to the limitations of the picture tube. But musically, the little opera is somewhat more successful. One aria, sung by Metropolitan Opera Soprano Judith Raskin, is lyrical and haunting; left alone in the corridor while her hus band, played by Baritone John Reardon, darts off on one of his searches, she sings I Shall Never, Never See My Home Again, the vocal highlight of the performance...

Author: /time Magazine | Title: Music: Menotti's Hour | 3/8/1963 | See Source »

...Opera Company (NBC. 2-3 p.m.). The world premiere of Gian Carlo Menotti's surrealist opera Labyrinth...

Author: /time Magazine | Title: Cinema: Mar. 1, 1963 | 3/1/1963 | See Source »

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