Word: operability
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...Berlin's Deutsche Oper and Conductor Hermann Scherchen have brought Moses and Aaron out of the wilderness. Last week the Deutsche Oper's 318-member traveling company performed it for the first time in Rome. The staging, obviously, was an unrealistic but no less gripping realization of Schoenberg's directions. The orgy scene was a stylized ballet danced against a crazy-quilt backdrop of emotionally escalating designs beamed from a dozen slide projectors. The tragic conflict between Moses-who, unable to articulate his spiritual vision, symbolically chants rather than sings his role-and the worldly, silver-tongued...
...ENTRENCHED MANAGEMENT: "The not very good thing that happens in most corporations is that the president appoints a lot of the directors. Some companies oper» ate a mutual protective society for presidents. They all cross-exchange. They stay on each other's boards and they protect each other. They put out a ballot with one slate and you can vote yes or no, but there is a 99% vote because there is only one slate. You have no alternative but to vote with management. Not all of the stockholders' suggestions can be bad; some should be listened...
...issue, calling Volpe "a party to the coalition of reaction." To illustrate the ex-Governor's "inhumanity," the Democratic nominee tells audiences that Volpe refused in 1962 to implment fully the Federal Manpower Retraining Act. The charge, claims Volpe, is groundless since the Act was then just beginning to oper ate: "Bellotti deals in glittering generalities about Goldwater. Just glittering generalities...
...tenor? Could the West Berliners in his chorus and orchestra still cross the border for morning rehearsals? With bureaucratic agility developed by directing state opera houses for both the Nazis and the Communists, Felsenstein swept past the crisis with a flurry of bargains and deals, and the Komische Oper was ready to greet the season six weeks after the city was cut in half. Since then, the Wall has ceased to exist for Felsenstein - even though he must pass through it twice each day in order to enjoy the best of each side...
Felsenstein has now spent 16 years at the Komische Oper. His very first production established the company's reputation, but it has taken years to develop a repertory of Felsenstein chefs-d'oeuvre. The commuting director still remains immune to any thought about whose side his operas might be on, but even if such worries should begin to plague him, his age and his years with his company provide him with a serene excuse to reject any thought of leaving the Komische Oper for some place out West. "This is my life's work," he says...