Word: mozartism
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...MOZART: CONCERTO NO. 17 (RCA Victor). Artur Rubinstein has made long series of Beethoven, Brahms and Chopin recordings, but only in his mid-70s is he turning to Mozart, who did not live long enough to grow old. The best modern Mozart interpretation demands more crispness, but Rubinstein's performance has its own serene and sunny logic. He is accompanied by Alfred Wallenstein and the RCA Victor Symphony Orchestra...
London Records was the first to exhume a number of its buried treasures, reissuing under the Richmond label such gems as George Szell conducting the Concertgebouw Orchestra in Brahms's Third Symphony and the Mozart Requiem conducted by Josef Krips at the bargain-basement price of just $1.98 per record (formerly $4.98). Sales were brisk, so London reissued ten operas, including Renata Tebaldi in La Boheme and Madama Butterfly. Mercury followed London's lead, establishing its Wing label, featuring such surefire favorites as suites from Tchaikovsky's Sleeping Beauty, Nutcracker and Swan Lake ($1.98 for mono...
...sleepwalking scene, and Sutherland is Donna Anna, crying vengeance on Don Giovanni at the top of her voice. The other reigning sopranos in this international exposition are Sweden's Birgit Nilsson singing Beethoven, France's Regine Crespin singing Wagner, Germany's Elisabeth Schwarzkopf singing Mozart, and Spain's Victoria de los Angeles singing Verdi and Gounod...
...MOZART: DIVERTIMENTO NO. 2 (George Szell conducting a chamber group from the Cleveland Orchestra; Epic). Mozart composed this divertimento (for flute, oboe, bassoon, four horns and strings) after two operas and 26 symphonies, but he still had something to say; he was 16. Szell makes the 200-year-old party music sound as bright and young as yesterday, and he insists that the dancing be both festive and mannerly...
Many of the dancers quite seriously believe that leaving Balanchine's company would be as disastrously stupid as skipping Mozart's piano classes in Vienna, and every dancer states the same ambition: "First to be in the corps, then a soloist, then a principal." The resuit of such spirit is a company amazingly deep in great dancers; the merest member of the corps, Balanchine insists, could have been a prima ballerina in imperial Russia...