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...Mozart of the public consciousness is now an absent author, a passive mouthpiece for, according to Salieri in the film, "the voice of God." But in a world without God, whose voice is it that we hear in Mozart's music...

Author: By John D. Shepherd, | Title: After the Party: Mozart Revisited, Man and Music | 4/9/1992 | See Source »

...Salieri of Peter Shaffer's play Amadeus, from which the film was adapted, sees the transcendent in Mozart's music, and, inevitably, the immanent in his own. And his own barrenness torments him. He despairs that he can only hear, and not create, the absolute music that flows from his rival's pen. In this sense, Amadeus is brutally relevant, as it engages the quintessentially post-modern problem of creative importence. More coherant and more powerful than the film it spawned, the play presents itself as a speculative exercise rather than a revisionist biography...

Author: By John D. Shepherd, | Title: After the Party: Mozart Revisited, Man and Music | 4/9/1992 | See Source »

...challenge his critics to take him seriously. As lush and ornate as the Paris Opera in which it is set, Phantom is the composer's most elaborate, beguiling score. It is also the most frankly operatic, not only in its parodies of period works by such composers as Salieri and Meyerbeer but in the way it has been written. Like an opera, Phantom is almost entirely sung, and its characters are outfitted with sharply etched musical motifs. Except for the title song, there is no rock music in the score; instead it is a sweeping, romantic evocation of Belle Epoque...

Author: /time Magazine | Title: Show Business: Magician of The Musical | 1/18/1988 | See Source »

...MCKELLEN won a Tony Award for his portrayal of Salieri in Amadeus but is best-known in his native England as one in a four-centuries-long succession of Shakespearean actors that includes Richard Burbage (the first Hamlet, Macbeth and Othello), Sir John Gielgud and Paul Scofield. The players constitute something of a royal house--or at least are knighted pretty often...

Author: By Abigail M. Mcganney, | Title: No Holds Bard | 9/17/1987 | See Source »

...found after his death, has given rise to several adaptations. Frayn's, which lasts 2 1/2 hours, shifts the focus from the leading lady to a man, the schoolteacher Platonov, and provides a wondrous star turn for Ian McKellen, who won a 1981 Tony Award for his portrayal of Salieri in Amadeus...

Author: /time Magazine | Title: Theater: Bawdy Laughter, Beckoning Doom Wild Honey | 1/5/1987 | See Source »

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