Word: milan
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...scheduled tour would have taken ten to twelve weeks, would have included a two-week stand in Moscow, plus such stops as Milan, Athens, Berlin, Brussels and Paris, and probably Cairo, Baalbek, Santander and Warsaw. It was not only the longest European tour ever scheduled for a U.S. orchestra, but also would have been the Chicago Symphony's first overseas tour in its 68-year history. The only trouble with it, argued 7O-year-old Conductor Reiner, was that it would leave the orchestra "miserably worn out" for its regular Chicago season. The explanation did not satisfy the musicians...
...Composer Giuseppe Verdi in a letter to his publisher in 1892. But Verdi, who had already received one of the handsomest premiums ever offered a composer, was persuaded not to burn Falstaff. Along with the originals of Verdi's 26 other operas, it was long stored in Milan in a plain brownstone office building at No. 2 Via Berchet, not far from La Scala. The opera house is more famous, but the office building has done at least as much to shape the rhapsodic flow of Italian music. Its name: Casa Ricordi...
...Italy's financial capital of Milan last week, a lethargic stock market suddenly rallied. Conservative Italian newspapers congratulated the nation's politicians on their good sense. Ostensible cause for the rejoicing: the appointment of 68-year-old Antonio Segni as Italy's new Premier. A more fundamental cause: the fact that after months of talk about an inevitable drift toward socialism, Italian politics had taken a sharp right turn...
...grand'mère of telephone dramas, Jean Cocteau's one-act, one-character play The Human Voice (1930) returned last week in a fine musical version by French Composer Francis (Dialogues of the Carmelites) Poulenc. Staged in Milan's La Piccola Scala, with shimmering Soprano Denise Duval as the distraught mistress, Poulenc's opera lifted the play again to the lyric tragedy that Cocteau intended: "The worst tragedy that can happen to us all-love and abandon...
...Vienna opera stage and broke her hip. She turned to choreography, gradually took on opera-directing chores, is now one of the most sought-after directors in Europe. She is an ardent admirer but not a disciple of Felsenstein, believes that his coldly analytical visions have no place in Milan's mistily sentimental house. Between them, Directors Felsenstein and Wallmann have done much to restore Puccini's fire-and-ice masterpiece to the fame it deserves...