Word: stokowskis
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...master is Leopold Stokowski, who made a brilliant Met debut at 78 and on crutches (he is recovering from a broken hip). Having always been a theatrical conductor in the concert hall, he seemed completely at home in the theater, drawing all the score's turbulence from the orchestra without trying to make it the star of the show at the singers' expense. Cecil Beaton contributed dazzling if hardly daring sets, notably a kind of winged pagoda against a distant, unreal blue sky, which suggested that Turandot is not set in a real China but in an exotic...
...Concerto Grosso, Senturia teamed up six bass viols, eight 'celli, and a harpsichord, with a large sized crew of string and wind players. It was a semi-Stokowski reading of Handel, with much contrast between the fervid string group and the more restrained, less impassioned woodwind ensemble. The solo passages occasionally caused problems, as did the corps of basses which mainly served to muddy the sound...
...understudied Barrère in the New York Symphony when he was only 17, graduated to the first-flute desk at the Philadelphia Orchestra when he was 27. Kinkaid's importance to the orchestra is so great that both Eugene Ormandy and his predecessor, Leopold Stokowski, refused to record flute solos without him; Stokie once had him freeze a diseased appendix long enough to sit through a recording session of Afternoon of a Faun...
...Leopold Stokowski, 78, closed out his fifth season as conductor of the Houston Symphony by praising Manager Thomas Johnson as "a man who can get along with a difficult conductor like me," then announced that he will leave his Texas podium next year. Generally liked in Houston, Stokowski was occasionally criticized, first for pushing too many modern works, then for moving in the opposite direction and pandering to the city's "roast beef appetite." Nevertheless, the city got a good financial return on Stokowski's reported $35,000 annual salary: ticket sales increased 86%. So far, no successor...
Bartok: Music for String Instruments, Percussions and Celesta, and Frank Martin: Petite Symphonie Concertante (Albert Fuller, harpsichord; Gloria Agostini. harp; Mitchell Andrews, piano; Leopold Stokowski conducting; Capitol, mono and stereo). Both Composers Bartok and Martin anticipated the dreams of the stereo engineers by calling for strings divided in equal groups on either side of the conductor. The resulting spread of sound is interesting, but less so than Stokowski's fine performance. Even with a pickup orchestra, his Bartok glows with tonal colors as weird and arresting as an electrical storm, and his vigorous reading of Martin has a fine...