Word: mozarts
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...broader repertoire. "The young man will have to make up his mind," said one, "whether he wants to be an artist or a flesh-and- blood jukebox." Though Cliburn went on performing as many as 100 concerts a year for the next two decades (which did include some Mozart, Chopin, Prokofiev), the authoritative New Grove Dictionary has summed up his fading career by saying that "he could not cope with the loss of freshness; his . . . playing took on affectations . . . He stopped performing...
Guess again. The blond (Joan Jeanrenaud) is a cellist by craft, and the longhair (Hank Dutt) plays, appropriately, the viola. Along with violinists David Harrington and John Sherba, they form the Kronos Quartet, the nation's most adventurous chamber-music ensemble. No Haydn or Mozart for this earnest foursome. Works by Charles Ives and Anton Webern are probably the creakiest items in their wide, of-today repertoire. It ranges from Steve Reich's Different Trains, in which synthesized voices, recorded railroad sounds and minimalist arpeggios are combined in a haunting memoir, to a growling, down- and-dirty setting of Jimi...
...read music before he could read words, Gould found he could learn scores most easily while listening simultaneously to TV shows or the roar of a vacuum cleaner. Always, his remarkable gifts were shadowed by a perversity that drove him to torture the works he disliked (notably, most of Mozart), and by a habit of compulsive experimentation that made him treat even human voices as little more than sounds. Inspiringly, Gould saw music as his world; chillingly, he also read the world as nothing more than music...
...Mozart's Marriage of Figaro, bar none, remains one of the most beloved operas of any composer. This comedy of mismatched lovers and mistaken identities contains some of the most uplifting and well-crafted of Mozart's music. And, thanks to some superb singing and character acting, along with a solid orchestra performance under the direction of Music Director Benjamin Loeb, the Lowell House Opera's Marriage of Figaro more than lives up to the ambitious musical challenge of putting on a full-scale opera in a house dining hall...
Impeded at times by a fairly lame English translation of Da Ponto's libretto by Andrew Porter (I mean, would Susanna really call Figaro a "blockhead" in the eighteenth century?), it is Mozart in the end who gives us the most aural pleasure. Who can resist the remarkable closing scene of The Marriage of Figaro, in which Figaro and Susanna, the Count and Countess Almaviva, Marcellina and Bartolo and all other cast members join together in praise of love and happiness? It's a scene not to be missed, confirming Mozart's brilliance in choral writing and the Lowell House...