Word: spoleto
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Dates: during 1960-1969
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...dominant force, amending, criticizing, suggesting. It comes naturally to him, just as his gifts for choreography do. His restaging of the Kirov's full-length Raymonda was a pretty, sugar-spun spectacle and, along with Nureyev's offstage antics, the roaring sensation of last year's Spoleto Festival of Two Worlds in Italy. Last October he rechoreographed the Petipa-Ivanov version of Swan Lake in Vienna. In his strong belief that "the Amazonian takeover" of the ballet has resulted in an appalling denigration of the male, Nureyev scissored Tchaikovsky's music, jiggered dances, and virtually reworked...
...Calder builds up his balanced mobiles by trial and tumble. Says he: "It's like making a patchwork quilt. You can't predict." A mobile can be tiny as a hummingbird; others are so outsize that airports find them favorite lobby decor. One stabile, his Teodelapio in Spoleto, Italy, is the largest metal sculpture in modern times; it is 59 ft. high, weighs 30 tons, and trucks can pass underneath it. "If it's impeccable," he says, "it can be made into any scale...
...biggest stabile yet, Teodelapio, Duke of Spoleto, created for the 1962 Spoleto Festival, weighs 30 tons, looms 59 ft. high, and could only be assembled for the festival with the help of shipyard cranes in Genoa. Calder's first, more sylphlike stabile was created in 1931 when he was absorbing surrealism from Joan Miro and Jean Arp. From them he learned the art of expressing the forms of living things in the context and materials of the machine age. As the stabiles' dimensions have grown more mammoth, so have their artistic strength and lean, linear elegance...
...chamber music and was one of its greatest strengths. But the rapport was broken when chamber music moved into large concert halls, for which it was never intended. Four seasons ago, deciding that "Italy has gone through great decadence in chamber music," Menotti launched the midday series at Spoleto as a long-shot restorative. Each summer since, about 50 similarly dedicated instrumentalists and singers from abroad have turned up for the series on nothing more than Menotti's promise of bed and board. They have performed everything from 13th century motets to Korean twelve-tone, are directed by Georgia...
Classical Jam Session. This season big-name musicians performing at the festival's full-dress evening productions began to treat the chamber-music series as a sort of classical jam session. Thomas Schippers, who conducted the Spoleto Messiah, stopped by to play piano duets with a series regular, John Browning. Last week Browning backed up U.S. Conductor Robert La Marchina (Traviata), who was up early for the sake of a tuneful Rachmaninoff piano-cello sonata. What's more, the musicians' enthusiasm for the series seems to be shared by an Italian concert public long uninterested in chamber...