Word: scenes
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Dates: during 1950-1959
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...magazine is an ingenious conglomeration--from the the heavy stylization of Edgar de Bresson's "A Chapter From A Novel," a stylization which seems remarkably successful in its design to obscure the fact that he has nothing to say, to a condescending essay on the local literary scene by Lowell Edmunds, who apparently has no conspicuous desire to report accurately. And there is "A Preposition," by Kurt Blankmeyer, chiefly distinguished by its first sentence, 596 words long, and also by its incomprehensibility...
...shadow he casts over Africa stretches far beyond the borders of his Oregon-sized country. As the head of the only French territory to vote against De Gaulle's constitution and thus to choose complete independence, he has been suddenly catapulted into the forefront of the African scene. Last week somnolent, picturesque Conakry was getting to know how it feels to be the capital of an independent nation. France, Britain and the U.S. were busy setting up embassies; there had been trade missions from East Germany, Poland and Czechoslovakia; and last week the first ambassador arrived-from Communist Bulgaria...
...first time in its 76-year history, the opera kept moving from the sublime toward the ridiculous. The score contains much hauntingly beautiful music,* prefiguring the emotional insights of Otello, but it is also marred by trivia, such as a kind of witches' cancan in the first scene. The libretto (by Verdi, put into verse by Francesco Piave) dimly reflects some of the original's greatness, but it is far behind Librettist Arrigo Boito's Otello and Falstaff, and is essentially a choppy, ill-balanced synopsis. The Met's production, while brilliant in most respects...
...bill ("I would have Lady Macbeth ugly and wicked ... her voice should be that of a devil"). For the most part, Soprano Rysanek seemed more like an ambitious Org Man's tender helpmate than a driven woman goading her weak husband to murder. But in the sleepwalking scene she rendered Verdi's compassionate music with memorable grace. As Macbeth, Baritone Leonard Warren walked through his part woodenly but sang as well as ever, while as Macduff, Tenor Carlo Bergonzi delivered one of the evening's real stunners...
...unknown at the Shop, the scene of many little economics, and he smiled modestly at the salesman who was watching his progress to the Valentines rack. Glancing guiltily past those daring, jokey ones, he hovered over the "Personal" section...