Word: oskar
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Next day the Arbeiterzeitung review pleaded "Do Kiss Me, Kate." The Wochenpresse added "Kiss Me Very Long, Kate." Vienna's most eminent literary critic, Oskar Maurus Fontana, proclaimed on the radio: "Not since Offenbach . . . has Vienna seen such an inspired foreign product." Cole Porter was hailed as the "Lehar of America," and at week's end Kate was playing to packed houses at prices 25% above the Volksoper norm...
...city of Salzburg was aglow last summer with a magnificent production of Mozart's Magic Flute. To help usher in the Mozart year with style, the Austrians commissioned Oskar Kokoschka to design sets for the opera. The sets were a great success, and so was an extensive exhibit of Kokoschka's work at the Residenz Museum. Seventy year old Kokoschka was as bold as ever and from the looks of the large dramatic canvasses, sprawling with jotted forms and gushing color, gayer than usual. There was still a message but Kokoschka was definitely concentrating less on ideology and more...
Expressionism is not so much a school of art as of attitude: it requires the artist, while sober, to behave as if drunk. The damn-the-torpedoes dean of the school is Oskar Kokoschka, 69, who signs himself "O.K." and is proving very much O.K. in Salzburg this season. Kokoschka's sets for a festival performance of Mozart's Magic Flute were the hit of the show (TIME, Aug. 8), his summer art school in a fortress overlooking the city was going strong, and an exhibition of his last three years' work drew raves from the critics...
Responsible for all the color was Austria's famed Painter Oskar Kokoschka, 69, who agreed to design the show out of friendship for the late great Conductor Wilhelm Furtwangler, who had asked him to do it. Salzburg honored Artist Kokoschka by staging a simultaneous one-man show of his paintings. The press agreed that he was "the real leading actor" in the new Magic Flute...
...Ginette Martenot, sister of the instrument's builder, started off with the Ondes Martenot. With remarkable technique, she coaxed from the instrument a synthetic cascade of notes, often shrill, occasionally pleasant, accompanied by a wildly modernistic orchestral background. She got a big hand from the audience. After intermission, Oskar Sala sat down before his Mixturtrautonium. To a tape-recorded background of shrill whistles, gongs, rattles and electronic drum sounds, he compounded the cacophony with his wildly incoherent themes. A third of the audience left before the end; those who stayed filled the hall with whistles and catcalls. Said...