Word: mozarteans
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...brain as the crowning end of man. The Child Buyer, adapted by Paul Shyre from John Hersey's novel, sees the sedulously cultivated brain as man's perdition. But any resemblance between Shaw and Shyre-Hersey is only thematic. The Shaw comedy is still full of Mozartean eloquence, gusto and grace; the Shyre-Hersey play drones along with tongue-clattering one-note monotony...
...appointment confirmed what Eng lish critics have been saying for more than a year: Davis is the most promising con ducting talent to appear in England since Sir Thomas himself rose to fame. He is not a spectator's conductor. A solidly built, shock-haired man with a Mozartean profile, he conducts spiritedly but has none of the balletic exuberance of Bernstein or the smooth elegance of Sir Adrian Boult or the icily imperious quality of Reiner. Nor are his performances flamboyantly colored: where Beecham's Mozart tends to be effusively loving, Davis' is simple end unaffected...
...Boheme six years ago (Love, rhymed Dietz, "is a feast for a Roman/ It's warming my abdomen") had a Metropolitan Opera production created such a fuss. "Among the finest productions in Bing's regime," wrote Miles Kastendiek in the New York Journal-American. "Non-Mozartean shenanigans," snorted Howard Taubman in the Times, while the Herald Tribune's Paul Henry Lang denounced it as "a travesty." Occasion: a new production, staged by Broadway's Cyril Ritchard, of Mozart's comic masterpiece, The Marriage of Figaro...
...fourth participant in the hell scene, an apostate from heaven who has left the "icy mansions of the sky" to embrace hellish hedonism, is Don Juan's Mozartean enemy the Statue, here transformed into a good-natured, brainless chap who "always did what it was customary for a gentleman to do." He and his modern avatar are played for less than they are worth by William Swetland, who employs the gimmicks actors use for self-important middle age with competence but no distinction...
...William Grass and pianist Tan Crone. Piston is one of those rare men who can teach as well through example as through words. This sonata, a relatively early work (1930), showed Piston to be already an impeccable craftsmen. All three movements were skilfully wrought in traditional shapes of almost Mozartean clarity, albeit on a mainly contrapuntal basis. The performance, however, was no more than adequate; Mr. Grass was definitely not "The Incredible Flutist" about whom Piston once composed a ballet...