Word: stokowskis
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...rolled up, disclosing the rest of an enormous orchestra, behind it a bank of faces rising two-thirds of the way to the stage ceiling. Paunchy Tenor Paul Althouse entered with willowy, blonde Soprano Jeannette Vreeland and dark, smiling Contralto Rose Bampton. Finally came Philadelphia's Conductor Leopold Stokowski, wearing the full black cravat which, with his halo of light hair, makes him look like an erect, dandified David Belasco out of the age of inno- cence.* Philadelphia's Academy of Music stage was set in this fashion last week for the U. S. premiere of Gurrelieder...
...King's own heart strong still, dead and yet strong. . . . It was intermission. In the bleachers the choristers, who had not sung at all, stood up, stretched their legs as if the sixth inning of a baseball game had just ended. But there was no rest for Stokowski. He hurried backstage, described Gnrrelieder for people listening to it over the radio in Europe...
...Wozzeck (TIME, March 16, 1931). Piccolos had a prominent part in this last orchestration, done ten years after the first. The strings had difficult chromatics to flurry through. But it never got noisy or jarring, never lost sight of Tove's tender love theme. Over the radio Stokowski said that Gurreliede was unlike most modern music in that it was simple, direct, easy to grasp on a single hearing. If in Vienna Composer Schonberg was listening he perhaps resented such homely praise. He started Gnrrelieder when he was 26 (he is 57 now), when he was deeply impressed with...
Chokopul (Conductor Leopold Stokowski) returned to his own people six weeks ago and as a souvenir of his travels he presented with the Philadelphia Grand Opera Company last week the world premiere of H. P., a "ballet-symphony" written five years ago by Carlos Chavez, the Mexican who guided him on his musical tour. Ravel's L'Heitre Espagnole served as curtain-raiser, a naughty opera concerning a clockmaker's insatiable wife, never intended for the literal English translation in which it was given. Then the curtain went up on a drop topped by the letters...
...music was too obtrusively harsh and loud for listeners on first hearing to detect the Indian tunes which he claims to be part & parcel of his work. It costs Mary Louise Curtis Bok a tidy sum to finance the Philadelphia Grand Opera Company's carefully prepared productions. When Stokowski conducts, the bills are still higher because he likes to use the full Philadelphia Orchestra. But Stokowski asked nothing for his tense, vital leadership last week. He returned from his Mexican travels in the best of humor, magnanimously announced that he would contribute his part of H. P. free...