Word: salzburger
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Dates: during 1950-1959
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...Devil Makes Three has any number of chases by automobile, motorcycle and on foot. It also has some effective-on-the-spot scenes filmed along the Munich-Salzburg Autobahn and at Hitler's bombed-out Adlerhorst at Berchtesgaden. Gene Kelly, without his dancing shoes, turns out to be a relaxed, likable actor, and wide-eyed Pier Angeli brings an appealing, girlish charm to the role of the Fraulein. But The Devil Makes Three makes little more than another run-of-the-movie-mill thriller out of its theme...
Summing Up. With its suspenseless and irrelevant plot, Danae probably has little chance of repertory performance outside Germany or Austria. But the production, with its gilt-encrusted costumes and scenery, and its overflow audience, neatly summed up the Salzburg...
Visitors to the Salzburg Festival expect to hear the best of classical music; last week they got something even better: a Historic Occasion. At curtain time the old Festival Hall was filled with well-fed but expectant listeners, come to hear the world premiere of The Love of Danae, the only unperformed opera by Richard Strauss-a composer only slightly less sacred to Salzburg than Mozart himself...
Danaë had special significance for Salzburgers. Eight years ago, after the Allies had landed in Normandy and Hitler's Reich was girding for its last stand, all theaters were ordered closed and the Salzburg performances canceled. But as a concession to Strauss's great prestige, Goebbels authorized a single "dress rehearsal for technicians," of the composer's new opera. Next day, several members of the cast were handed rifles and drafted into the last-ditch Volkssturm army...
Other festival cities this year, notably Bayreuth and Munich, bid high for top-notch soloists. Salzburg, apparently confident that the Vienna Opera was the world's best, simply transplanted it for the festival season, and booked only two big outside stars: the Metropolitan Opera's Baritone George London (a commanding Count Almaviva in The Marriage of Figaro) and Tenor Ramon Vinay (in Otello). Salzburg's musical stalwarts of other years (Bruno Walter, Arturo Toscanini) were absent. But the hall was fuller than ever and Salzburg had its most profitable season since...