Word: nadia
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Dates: during 1960-1969
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...Usable Past. From the time he finished his Paris studies with Nadia Boulanger in the mid-1920s, Brooklyn born Aaron Copland was known as a restive talent. Looking for "a usable past," he experimented first with jazz in the wiry, jaunty Music for the Theater (1925), later wove it into the strident and monumental style of the Ode, which to his mind marks "the end of the first period of my work." A later period was inspired by Cop land's feeling that the American composer was losing touch with his public. In the late 1930s he began...
...Dauphine, Maria of the Appia, discreetly toot horns and flash headlights to attract the prospect's attention. In a favorite gambit, pairs of klaxon girls pull right alongside male motorists; the one at the wheel keeps the car just abreast, the other casually unbuttons her blouse. Blonde "Insurance Nadia," on the other hand, got her name by her habit of gently jostling a male driver's rear bumper, then sidling out to coo that her insurance company will pay damages, if any-and making her proposition...
...Royal is evidently nearing a crossroads, with Fonteyn listed only as a "guest artist" (she has been away for much of the past year) and the company relying more and more on its mainstay classical ballets. There is no shortage of younger dancers, among them Nadia Nerina-whose performance in La Fille Mai Gardée conveyed glimpses of Ulanova's unearthly lightness-Annette Page, Anya Linden and, most notably, coldly brilliant Svetlana Beriosova, 28, widely heralded as heiress apparent to Fonteyn. The Royal last week also showed off its first-rate male principals: Michael Somes, Brian Shaw, Alexander...
...with lady voyagers. Before long the captain has taken a pratfall into a tray of lobster newburg, walked shudderingly across a boat deck alive with cries of water-borne passion, indulged in a spirited pie-throwing match with a roomful of children, and repulsed the sort of lowlife lady (Nadia Gray) that fictional characters are always repulsing. In no time at all, however, he meets the sort of highlife chick (Peggy Cummins) that fictional characters are always marrying; and at film's end, sure enough, he makes port...
Liza's feminine victory sets quite a precedent for U.S. musical theater. Women of the class and quality of France's austere Nadia Boulanger have guest-conducted the Boston Symphony and other orchestras; in a less memorable tradition there have always been all-girl dance bands. But conducting Broadway musicals has always been a man's job. Producers argue that women cannot command a male theater orchestra in day-in, day-out performances. Besides, if the girl conductor is good-looking, who wants to watch the show? Liza Redfield finally broke the monopoly by insisting that "music...