Word: otto
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Dates: during 1990-1999
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Moving through the years, the set includes such highlights in the symphony's history as Otto Klemperer's masterly U.S. premiere in 1934 of the original, and now standard, version of Bruckner's Symphony No. 9; and the youthful ardor and easy virtuosity of Jascha Heifetz and Arturo Toscanini performing Brahms' Violin Concerto in 1935. The impassioned responsiveness Toscanini elicits from the orchestra demonstrates why his players held...
...hard about what happened to the characters in real life. Anne and the seven family members and friends who spent two years hiding from the Nazis in a secret annex above an Amsterdam warehouse were herded off to concentration camps, where all but one of them--Anne's father Otto--perished...
...opened last week on Broadway, the line is no longer the drama's capper. It is spoken in voice-over by Anne just as she and her family are being seized by the Nazis. The juxtaposition is ironic, ambiguous, chilling. Nor does the rewritten last scene offer any reassurance. Otto Frank, revisiting their hiding place after the war, describes the final sighting of Anne in Bergen-Belsen: "Anne's friend Hanneli sees Anne through the barbed wire, naked, her head shaved, covered with lice. 'I don't have anyone anymore,' she weeps. A few days later Anne dies...
...first and most widely read edition of Anne Frank: The Diary of a Young Girl (edited by Otto Frank and published in 1947) omitted a good deal of material that her father deemed unsuitable, from Anne's criticisms of her mother to her musings about sex. The Broadway play, written by the husband-wife screenwriting team of Albert Hackett and Frances Gooodrich (It's a Wonderful Life), prettied up the diary even more, downplaying specifics of Nazi crimes against the Jews and recasting the story as a universal tale of suffering and hope. The Hackett-Goodrich version supplanted an earlier...
...almost muted, yet gripping in its down-to-earth immediacy. Perhaps because Natalie Portman's Anne is a little short on stage charisma, the story shifts slightly away from her and more toward the complex ensemble of people coping with their terror and with one another. George Hearn as Otto Frank has a hushed dignity; the Van Daans (Harris Yulin and Linda Lavin) seem less foolish and more touching than before. The play was a professional Broadway job to begin with; now it sometimes reaches poetry...