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...believe in that." And he is often sarcastic ("Sing a B-flat rather than a flat B!"). But he could hardly believe his whole company was against him. Within 24 hours, he gathered 45 testimonial letters from singers, conductors, and musicians. City Opera's topnotch Conductor Jean Morel promptly announced his resignation in protest. Halasz refused to resign, demanded an open hearing. But the board's mind seemed to be made up. Conductor Joseph Rosenstock was named to direct the spring season, opening in mid-March...

Author: /time Magazine | Title: Music: Blowup at City Center | 12/31/1951 | See Source »

...comparatively compact City Center Theater, Stage Director José Ruben, veteran of both opera and Broadway (and once Sarah Bernhardt's leading man), made Manon move through all its five acts with proper sentiment and subtlety. In the pit, French Conductor Jean Morel kept the pace clean and precise. And the singing, French diction included, of City Opera's young Americans could hardly have been better...

Author: /time Magazine | Title: Music: Manon as It Should Be | 4/2/1951 | See Source »

...shrewd Director Halasz picked Manon? Partly because, under Conductor Morel, he had "the strongest French wing in the U.S. To be brutally frank," saic Halasz, there was another, equally good reason: "The Met didn't do very much with the French repertory this season...

Author: /time Magazine | Title: Music: Manon as It Should Be | 4/2/1951 | See Source »

...Series of Quarrels. Guay told police nothing. A slight, boyish-looking man with wavy hair, he had met Rita Morel, in a Quebec arsenal during the war. Their marriage became a long series of quarrels. Last spring Guay began going with a pretty young nightclub waitress named Marie-Ange Robitaille. Rita and her five-year-old daughter moved to her mother's home...

Author: /time Magazine | Title: CANADA: Flight to Baie Comeau | 10/3/1949 | See Source »

...opera school at Tanglewood. After a student production of the Fountain Scene from Pelléas and Mélisande there, he landed a chance to sing Pélleas in the New York City Opera's closing performance last year. Ace French Repertory Conductor Jean Morel liked Rounseville's big, wide-ranging tenor voice, taught him to sing Hoffmann this season in the City Opera's first production of Offenbach's Tales of Hoffmann...

Author: /time Magazine | Title: Music: Worth Waiting For | 4/18/1949 | See Source »

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