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Composer Bernstein contends that there is a mystical relationship between the occult numerology of the kabbalah and his 50-minute score. In fact, the Dybbuk music is a bland, pseudo-modern pastiche-a murmuring of Mahler here, a shriek of Stravinsky there, stray leitmotifs of Hasidic melody to suggest ethnicity. Robbins' choreography matches the music, sometimes cliché for cliché. When the orchestra explodes in a burst of Yiddish song, dancers sway sinuously, as if at a ghetto wedding. There are great yaps of brass at Big Moments of high stress; on stage, the performers thrust splayed hands...

Author: /time Magazine | Title: Dance: Where the Spirit Listeth | 5/27/1974 | See Source »

...course, was Winter, a ghostly figure in silver-sparkled sneakers and knee pads to protect him during his stage acrobatics. Winter played keyboards, drums and sax with a vengeance, but the crowd reacted most to his haunting voice that can range from a mellow bass to a piercing shriek. Most of this show was shrieking, as Winter opened with his driving "Keep Playing That Rock and Roll" and went straight through to his last encore of "Undercover Man" without letting...

Author: By Tom Lee, | Title: White Lightening | 12/5/1973 | See Source »

...planning out every shriek and moan as she went," Simon insisted...

Author: /time Magazine | Title: Music: Alone with the Blues | 8/27/1973 | See Source »

...various manifestations of menace and death. When her husband packs her off to the countryside for a rest, the lady's predicament becomes even more woeful, as does Susannah York's performance, which gives way to a battery of twitches, groans and grimaces, interrupted by an occasional shriek of anguish. Like Director Robert Altman's previous film, McCabe and Mrs. Miller, Images has its own distinctive ambience - chilly, remote and for bidding. This is owing, perhaps, to the valuable presence of Altman's two skillful collaborators, Cinematographer Vilmos Zsigmond and Production Designer Leon Ericksen. Altman, however...

Author: /time Magazine | Title: Cinema: A Festival's Moveable Feast | 10/16/1972 | See Source »

...unit within the small left transept facing the rear sound is easily projected to the back of the nave, encircling the entire congregation. The registrations are those of a baroque organ with many mixtures available over a presumably powerful fundamental. The reed stops tone is too often a nasal shriek. This was not helped by some faulty voicing of the individual pipes. But the biggest disappointment is the pedal division. Even the thirty-two-foot Untersatz the loudest stopped-pipe normally employed is inadequate, it does not support the loud mixtures played from the manuals...

Author: By Kenneth Hoffman, | Title: Baroque Organ Dedication | 10/11/1972 | See Source »

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