Word: mozartism
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Diagnosed with acute melancholia and a guilt complex, detective John Ferguson, in Alfred Hitchcock's film Vertigo, is advised by his girlfriend to turn to the restorative power of music. "Mozart. Wolfgang Amadeus," says Madge. "I had a long talk with a lady in musical therapy, Johnnie, and she says Mozart is the boy for you. A broom that sweeps the cobwebs away." In its 50th year, Opera Australia is hoping Mozart will be the boy for it. While its prognosis is better than Johnnie's, the country's flagship company has been gathering a few cobwebs lately. Since...
...fresh production of Mozart's The Magic Flute might change that. The timing, at least, seems blessed: In 1956, the Australian Elizabethan Theatre Trust decided to celebrate the 200th anniversary of Mozart's birth by staging four of his best-known works, including The Magic Flute, and a company was born. Fifty years later, they have repatriated one of their finest exports, director David Freeman, to launch a new version combining vocal firepower (Amelia Ferrugia, Jaewoo Kim, Emma Matthews) with the aerial acrobatics of Legs on the Wall. Did someone mention crossover appeal? "You can't stay 19th century," says...
Stores were not the only institutions that had to adjust to the weather. While some club meetings and planned events were canceled because of the storm, several prominent events, including common casting callbacks for Harvard’s spring term theatrical productions and an evening Mozart concert performed by the University Choir, occurred as scheduled, although the choir concert sent out e-mails announcing that last night’s performance would be free...
...Friday night in an exciting recital of art song given by the Radcliffe Choral Society (RCS). “Beau Soir,” as the evening was aptly titled, proved to be an elegant assortment of lesser known gems from the greats; though the operas and symphonies of Mozart, Mahler and Brahms make frequent programmatic appearances, audiences are rarely given the opportunity to experience their lieds. Given its simple nature and exclusion from a larger plot, the art song as a form stands little chance of earning the recognition the aria enjoys; a ditty addressed to gentle breezes...
Walking into “Frank Stella 1958,” the special exhibition currently at the Sackler Museum, reminded me of the surprise I got when I heard one of my friends, who plays guitar in a punk band, playing Mozart on a violin. It wasn’t that the delicate strains of the violin concerto were completely unrelated to the straight-up, snarling chords of his punk songs, nor even that one was necessarily better than the other. It was just that, man, I didn’t know he could do that...