Word: passion
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Dates: during 1960-1969
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...Arabs are suffering from one of history's worst inferiority complexes, caused by the shock of discovering that a glorious past has become irrelevant in a powerless present. The original Arabs were the Semitic tribesmen of the Arabian Peninsula, the passionate nomads and born makers of creeds, whom T. E. Lawrence called "people of primary colors." Today one can hardly define an Arab; the name spans a racial rainbow. "Arabs" may be squat Lebanese, tall Saudis, white Syrians or grape-black Sudanese. They include dollar-dizzy Kuwaiti, secretive Druzes, Gallicized Algerians and Christian Copts. Only about 10% are nomads...
...projecting age convincingly and boasting authentic-sounding accents. Even the accents that wouldn't fool a Midlands mockingbird are consistent, and that is what counts. Best of all, this production somehow catches the gypsy superstition and ballady poetry of the play, and never lets the numberless moments of high passion numb the audience...
...flames, blood, magic swords and flying goddesses, this crystal-and-velvet score is the most human of Wagner's Ring operas. Conductor Herbert von Karajan's slow, deliberate pace illuminates each stroke of genius in the score, but some listeners will find that he has sacrificed passion for clarity and restrained the anguish that Wagner's wild climaxes can evoke. No matter: Jon Vickers' Siegmund is powerful and Régine Crespin's hotoyohos are properly rousing...
IRINA ARKHIPOVA: RUSSIAN OPERA & CANTATA ARIAS (Melodiya/Angel). The dark passion of good Russian music is welcome to even the most jaded ears, and this collection of arias is particularly affecting. While most of the composers (Mussorgsky, Tchaikovsky, Prokofiev) are familiar, the excerpts are less so. Among the most intriguing is from Not Love Alone, an opera about the love life on a collective farm by Rodion Shchedrin. The youngest composer represented on the album (and husband of Prima Ballerina Maya Plisetskaya), Shchedrin finds room for originality within conventional Soviet Realism-which means late, late, late Romanticism. However superficial, his melodies...
...this more apparent than when he woos and wins the Lady Anne over the coffin of her husband, whom he has murdered. A scene that seems logically inconceivable becomes psychologically astute as Richard, who has never wept, weeps; who has never knelt, kneels. With the reckless audacity of his passion, he converts Anne's grief and loathing into something like coquetry...