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...until he read about it in a newspaper a month before the date. So Gershwin got to writing, developing some early musical sketches to a complete score. Almost. By the premiere, he hadn't finished scoring the piano solo. He played it himself, cuing Whiteman when to bring the orchestra back in. An orchestral star was born...

Author: /time Magazine | Title: Great Performances to Savor | 3/31/2003 | See Source »

...Appalachians; they also heard the sound of a nation blossoming. The immediate impact is all the more amazing given the spareness of the composition. Framed by the Shaker folk song Simple Gifts, the music was originally scored for just 13 instruments because of the limited size of the orchestra pit at its opening venue...

Author: /time Magazine | Title: Great Performances to Savor | 3/31/2003 | See Source »

...sending us to war for fictitious reasons, whether it's the fiction of duct tape or the fiction of orange alerts." Some members of the audience stood to applaud, but they weren't seen on camera. What was heard was a caseful of boos. The orchestra began playing its get-outta-here music and Moore declaimed, "We are against this war, Mr. Bush. Shame on you, Mr. Bush! Shame on you!" The standing microphone sank into a hole in the floor as Moore harangued on. After a commercial break, Martin quipped, "It was so sweet backstage, you should have seen...

Author: /time Magazine | Title: Hollywood Goes to War — Not! | 3/24/2003 | See Source »

...World on a String. All the backdrops--including Times Square, a train station and a Florentine campo--would be broadcast on a giant $6 million LED screen. There would be a wordless Romeo and Juliet interlude, a tree that would bloom onstage and a flying orchestra. And, yes, there would be a moon character dressed entirely in white. "He illustrates the emotions of the audience," says Dragone. "He is also a baby who has never seen anything...

Author: /time Magazine | Title: Diva Las Vegas | 3/17/2003 | See Source »

When Lynch begins to sing, her voice is ethereal yet clear and projects deep into the hall. Her arias are the opera’s highlights. Their notes ring like chimes in all ranges, yet the sound is full and well-rounded, even in top notes. The orchestra tends to get carried away on occasion, playing the swelling crescendos with slightly too much crescendo for the acoustic environment and for the singers who must resound above it. Lynch’s voice, however, always resounds fully above the orchestra...

Author: By Julie S. Greenberg, CRIMSON STAFF WRITER | Title: Powerful Singers Enliven Tchaikovsky | 3/14/2003 | See Source »

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