Word: stokowskis
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Dates: during 1930-1939
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...Leopold Stokowski, conductor of the Philadelphia Orchestra, returned to Paris from a brief Russian junket. Said he: "The people in the streets all walk quickly with grave, preoccupied faces; they do not smile. If they bump into each other they do not apologize. ... In Moscow the Opera is magnificent. . . . Every department is perfect. ... It alone seems to have escaped from politics, for the repertoire is the same as before the War. Children's theatres, which receive special government attention, are nothing but propaganda centres. In one I saw what were represented as aristocratic Red Cross nurses refusing to give common...
Sibelius' Swan of Tuonela by Conductor Leopold Stokowski and Philadelphia Orchestra (Victor, $2)?A glowing account of a hero's approach to the Finnish hell...
...Erich Kleiber of the Berlin Staatsoper. This pleasant bald-headed gentleman (who, at the New York Philharmonic, is overshadowed by the severely classical Arturo Toscanini) has championed more modern opera than any other man in Germany. He directed the premieres of Austrian Alban Berg's Wozzeck (five years before Stokowski gave it to Philadelphia), Frenchman Darius Milhaud's Cristophe Colomb (written to the libretto of French Ambassador Paul Claudel), Czech Jaromir Weinberger's Schwanda, scheduled for performance at Manhattan's Metropolitan Opera next year. It was Kleiber's enterprising programs, as well as his sound musicianship, which...
...ancient Greece which Sophocles told about in his Oedipus Rex 2,300 years ago. As of old they decreed and prophesied that Oedipus, son of Laius, would murder his father and marry his mother, Jocasta. They served also last week to provide the material for one of Conductor Leopold Stokowski's most ambitious flights into modernistic musical production: the first U. S. stage performances of the Oedipus Rex of Composer Igor Stravinsky, an opera-oratorio with a text recast by Frenchman Jean Cocteau, then Latinized. Oedipus Rex will be repeated April 21 and 22 at Manhattan's Metropolitan Opera House...
...doubtful if Stravinsky in his austere mood would approve the performances which Stokowski and his orchestra gave last week in collaboration with Manhattan's League of Composers. Stravinsky's intention was to scorn theatric devices, even program notes. He put his text into Latin for the sake of still greater obscurity; illusion was to come from the music alone. But a part of Stokowski's genius is expressed in his willingness to walk where angels fear to tread. It is nothing new for him to appear to know more about a piece of music than the man who wrote...