Word: strausses
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Dates: during 1950-1959
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...produced a program of English glees, canons, and catches. The chorus had a good time, and the audience left humming "Which is the properest day to drink?" indicating a liking for both form and content. In the following months, the Society tried Gilbert and Sullivan's "The Grand Duke," Strauss' "The Gypsy Baron," rare Mozart, a tribute to Queen Elizabeth, and several concerts of chamber music, all in the tradition of music seldom heard. Perry's search for suitable scores took him to Widener, to Boston, and then to libraries in England and France...
...financial failure of "The Gypsy Baron" was attributed largely to Harvard's indifference to opera in general and Strauss in particular. But the failure was due not only to community apathy to the unsophisticated Strauss; it was also due to an attempt at lavish production which had only unpolished results. Polyna Stoska did not draw her money's worth. "The Gypsy Baron" was fun, but it was still the Adams House Musical Society, this time all dressed...
...Backbenchers. What support has Bevan? From a parliamentary count made last week by his wife, there are some 20 backbenchers who will vote with him. In addition, War Minister John Strachey, Supply Minister George Strauss and some junior ministers are more sympathetic to Bevan than to Attlee...
...same bill is "Die Fledermaus," a 1948 version of Strauss' opera. In it most of the virtues and vices of "The Marriage of Figaro" are reversed. There is little of Strauss' music and a lot of good acting. The orange-tinted film is the most unusual part of the movie. If it's Germany's answer to glorious Technicolor, Hollywood has nothing to worry about in that department...
...piccolo, three oboes, five clarinets, four bassoons, full brass, timpani, snare drum, bass drum, eymbals, triangle, tambourine, Glockenspiel, xylophone, and strings. At the very best, these extra instruments were entirely superfluous to Brahms' musical intentions. At the worst, which was most of the time, they sounded like something Richard Strauss would have reconsidered even in his most beery moments. The percussion thumped, whanged, crashed, and tinkled; trombones blatted; horns bleated; strings dripped schmaltz--in short, all "Scheherezade" broke loose...