Word: opera
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Dates: during 1940-1949
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Covent Garden's 24-year-old Producer Peter Brook had warned that his new Salome "is not a production; it's an hallucination." A superconfident, baby-faced wonder boy who likes to shock, Brook had looked for a designer for the Royal Opera House's first Salome of its own since 1936 who could "reflect visually both the cold, fantastic imagery of Wilde's text and the hot eroticism of [the late Richard] Strauss's music." In mustached Surrealist Salvador Dali, he thought he had found his man. Gleefully, producer and designer hatched their plans...
Prokofiev: Cinderella (the Royal Opera House Orchestra, Covent Garden, Warwick Braithwaite conducting; Columbia, 6 sides). The score for the ballet now being performed in Russia and by England's Sadler's Wells (TIME, Nov. 14), and what Russian Expatriate Igor Stravinsky calls "Soviet music-bah!" Completely undistinguished, it sounds more often like so-so Soviet Composer Khachaturian than great Composer Prokofiev. Performance and recording: good...
...long one of the sights of Paris (see cut), arrived in the U.S. to spend a year celebrating his 75th birthday. With the Attic cultist came a member of the faithful whom he introduced as Mrs. Aia Bertrand, "a sort of Svengali." He planned to put on his own opera ("a comic tragedy") in Manhattan's Town Hall, in which he would insure uniform quality by playing all the roles. Admission: free...
...night last week, an audience that overflowed into every inch of standing-room space in Manhattan's Metropolitan Opera House listened breathlessly as the great gold curtain closed to the last romantic bars of Tchaikovsky's Sleeping Beauty. As the footlights went up and the curtain parted again, a roar of applause rose to the Met's gilded ceiling. Time after time, panting dancers took their bows, then skipped gracefully out of view. When at last a slender and dark-haired little ballerina appeared alone, the audience rose to its feet and cheered...
...corps de ballet drilled down to the last pas de chat, an ensemble built on the theory that it is as important to have a well-coordinated team as a great star. To put on the great "white ballets"-the classics that England's Royal Opera House company has made its specialty-it had to have both. Says U.S. Choreographer George Balanchine: "When you dance in a short skirt, a tutu, you have to be very well trained, very precise. It's like a coloratura singing Mozart; she has to sing every note. In classical ballet, legs...