Word: scorings
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Dates: during 1960-1969
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...accomplished singers (many of them American) who stay with the company throughout the ten-month season and blend smoothly into the overall musical texture. Instead of garnishing glorious music with pageantry and posturing, Hamburg produces cohesive, hard-hitting dramatic performances, in which the text is as important as the score. And instead of sticking with proven but sometimes flyblown versions of operatic warhorses, it mounts eight new productions every year, two of which, like Jacobovsky and The Visitation, are commissioned works by contemporary composers...
...showings at Expo, Czechoslovakia again emerges as Expo's, and possibly the world's, most formidable new film maker. Its most ambitious efforts are two multiple-projector movies, cum-brously named Polyvision and Diapolye-cran. Polyvision discards the idea of a screen, projects its images against a score of whirling spools, globes and spheroids. Again the form outstrips the content: what delights the eye is just another Iron Curtain version of the old love story of man and factory, uniting to turn out ingots, pencils and marzipan. Diapolyecran is a 32-ft. by 20-ft. mosaic composed...
...lion being a traditional symbol of gold, and gold having long been termed "the lion of metals." Underneath we note part of two arched Venetian foot-bridges, both of gold. A short masque takes place on stage, but we are put somewhat ill-at-ease by the dissonant musical score provided by Richard Peaslee (a far cry from the pleasant harmonies Virgil Thomson composed for the Festival's Merchant of exactly ten years...
Conrad Susa's music for the several dances, songs, and general background is pleasant enough, though it certainly cannot be accused of subtlety (but, then, neither can Mendelssohn's marvelous score). I do wish he had not had recourse, for the shimmering fairies, to the vibraphone; this is too easy, and I cannot rid myself of the feeling that the instrument is inherently vulgar. Susa's score does not come up to the one Marc Blitzstein wrote for the 1958 production. (It is sadly ironic that Blitzstein and director Jack Landau, who contributed so much to the joyous success...
Conrad Susa's music for the several dances, songs, and general background is pleasant enough, though it certainly cannot be accused of subtlety (but, then, neither can Mendelssohn's marvelous score). I do wish he had not had recourse, for the shimmering fairies, to the vibraphone; this is too easy, and I cannot rid myself of the feeling that the instrument is inherently vulgar. Susa's score does not come up to the one Marc Blitzstein wrote for the 1958 production. (It is sadly ironic that Blitzstein and director Jack Landau, who contributed so much to the joyous success...