Word: operator
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Dates: during 1950-1959
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Last week two of the world's leading opera houses-East Berlin's Komische Oper and Milan's La Scala-were performing brilliant and strikingly different productions of Turandot. According to the libretto, Chinese Princess Turandot is a creature of "ice which gives fire," and the productions mirrored the icily realistic and warmly romantic visions of two master directors of opera: East Berlin's Walter Felsenstein, Vienna's Margherita Wallmann...
Fire & Ice. Neither Wallmann nor Felsenstein, both born in Vienna, began their careers in the world of opera. Felsenstein started out to be an actor, drifted into opera directing in the 1920s. He took over the Komische Oper in 1947, speedily built it into the operatic showcase of a city that also boasts the East Berlin State Opera and the vigorously competing West Berlin Municipal Opera. In a kind of operatic cold war, Felsenstein's now classic productions of Carmen, Tales of Hoffmann, The Bartered Bride attract as many operagoers from West Berlin (where Fetsenstein lives for maximum comfort...
...rest of their wage loss. On the other hand, the steelmakers will probably raise prices, adding somewhat to the inflationary pres sures on the economy. But the price rise is not expected to have a marked effect on the cost of living. Reason: many manufacturers of consumers' goods, oper ating in a highly competitive market, will have to absorb the price increases...
...subject to abuse, not so much by the Government against a witness, but by a witness who can trick the Government into automatically giving him immunity from prosecution by asking him a question. In 1857 Congress passed a law, applying to all federal bodies and including congressional committees, which oper] ated on lines similar to the 1893 act. The | law was widely abused. In a debate on ; revising the act, Senator Lyman Trumbull j of Illinois said: "Here is a man who stole | $2,000,000 in bonds, if you please, out of i the Interior Department. What does...
...Dixie beat could take a fling at Paris with a reasonable chance of success. Lately, U.S. "progressive" jazzmen on tour have been meeting with mixed reactions from the uninhibited French, who boo at the drop of a diminished seventh, read newspapers while the music plays, shout "à l'operé!" or "à dormir!" when the music is too polite for their tastes. Worst of all for the progressive musicians, French Dixieland fans make a practice of invading modernist concerts just to snort and bellow...