Word: ops
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Dates: during 1970-1979
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Adams House Music Society--Lower Common Room--8 p.m.--Pianist Claudia Stevens in a lecturercital on "Textual, Stylistic, and Aesthetic Problems in the performance of Schumann's Impromptus, Op...
...course, strictly of the broad variety. Mozart's was something else again. One cherishes the 18th century for The Marriage of Figaro alone. One takes heart in the present, when a work of such bite and compassion can be done as well as it was on the Paris Opéra's first night in New York. Among the many talents at work was the same essential Strehler as in Macbeth-but what a difference! It was as if he had taken his lead from the Figaro overture, that barely perceptible rustle of strings and woodwinds that swells...
Presiding over an obviously recharged Paris Opéra orchestra, Solti made his first appearance in an American opera house since 1963-64. His Figaro had a spacious relaxation not always heard in his work with the Chicago Symphony. His handling of the surprising events that constitute the wondrous finale of Act II was but one of his many lessons of the evening in how to pace an opera...
...Italy's Giorgio Strehler, who was responsible for the opening productions of both La Scala and the Paris Opéra, is no ordinary director. When he says the music comes first, he means it. When he uses the phrase no man's land, he means that too; contrasting cases in point are the failure of his Macbeth and the success of his Figaro...
...handsome bachelor (he was divorced some years ago) who has a crown of wavy silver hair, Strehler is a familiar figure in Italian gossip magazines because of his stormy love affairs. Not that he has all that much time to himself. Last week, while La Scala and the Paris Opéra were proudly introducing his work to U.S. audiences, Strehler was in Paris rehearsing Chekhov's The Cherry Orchard. He was too busy to come...