Word: queerly
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Dates: during 1940-1949
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...opera which Manager Edward Johnson chose for the opener was a new show, and as queer as they come. Un Ballo in Maschera (Masked Ball) was written by Giuseppe Verdi in the 1850s to a play by Scribe which dealt with the assassination of Sweden's King Gustavus III. Because of trouble nearly a century ago with Italian censors, the libretto of Masked Ball was given a U. S. background. Its hero was "Riccardo, Count of Warwick, Governor of Boston" in the 17th Century. He tenoriously fell in love with the soprano wife of his "Creole" secretary. After everyone...
...years, bald, parchment-faced, Austrian-born Composer Arnold Schönberg has written music so complicated that only he and a couple of other fellows understand what it is all about. This music, which sounds to the uninitiated not only queer but accidental, has been enjoyed by very few. But it has thrown the world of music into a Kilkenny cat fight. One cat camp maintains that Schönberg's music, like Einstein's theory, sounds queer because it is way over the average man's head; opponents swear that Schönberg is pulling everybody...
Sibelius: Belshazzar's Feast (London Symphony Orchestra, conducted by Robert Kajanus; Victor: 4 sides; $2.50). Incidental music to a play by Sibelius' friend Hjalmar Procopé, Finnish Minister to the U. S. Finnish Orientalism is queer, but pleasing...
...remaining entries, some were better art than poster art. Most commented on of all were four queer-looking items which were neither, but which might well have brought awesome whispers from fanciers of U. S. primitives. These were by a bedridden ex-gob named Robert S. Owen, who painted them while lying on his back in his Colorado Springs home. Painter Owen's posters, reminiscent of the childlike, words-of-one-syllable cartoons of Hearstman Nelson Harding, belched and dripped with arson and mayhem, made Europe's troubles look like a chamber of horrors. In one a bolshevik...
...beautifully filled that they may leave callous critics whispering incredulously to themselves. Others (Mickey's Sorcerer's Apprentice, the hilarious ostrich and hippopotamus ballets) set a new high in Disney animal muggery. Others (the wave and cloud sequences of Bach's Fugue, and a queer series of explosive music visualizations performed by a worried and disembodied sound track, posing diffidently on the screen like a reluctant wire) recall the abstract cinemovies made about five years ago by New Zealand-born Len Lye, show how musical sensation may be transferred to visual images...