Word: susa
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Tablets with the same form of writing had been discovered before at the ancient city of Susa on the Persian Gulf. The tablets discovered at Tepe Yahya are the first ever found in Iran, and the first found together with blank tablets-evidence for their independent origin at Tepe Yahya...
...tone of this production is set at the very outset by designer Marsha Eck's pretty picture-frame made of candelabrum-adorned Corinthian pillars, and a foliage-sprouting crosspiece bearing the play's title in flowing letters. The opening mood is buttressed by Conrad Susa's bright E-major fanfares that lead into a section for hidden singers and pastoral woodwinds punctuated by airy strokes on a glockenspiel. And Jane Greenwood, using the late 16th-century as a period, has provided dozens of stunning ruffcollared costumes...
...Conrad Susa's music for the several dances, songs, and general background is pleasant enough, though it certainly cannot be accused of subtlety (but, then, neither can Mendelssohn's marvelous score). I do wish he had not had recourse, for the shimmering fairies, to the vibraphone; this is too easy, and I cannot rid myself of the feeling that the instrument is inherently vulgar. Susa's score does not come up to the one Marc Blitzstein wrote for the 1958 production. (It is sadly ironic that Blitzstein and director Jack Landau, who contributed so much to the joyous success...
...Conrad Susa's music for the several dances, songs, and general background is pleasant enough, though it certainly cannot be accused of subtlety (but, then, neither can Mendelssohn's marvelous score). I do wish he had not had recourse, for the shimmering fairies, to the vibraphone; this is too easy, and I cannot rid myself of the feeling that the instrument is inherently vulgar. Susa's score does not come up to the one Marc Blitzstein wrote for the 1958 production. (It is sadly ironic that Blitzstein and director Jack Landau, who contributed so much to the joyous success...
...Conrad Susa's incidental music is mostly just a series of sound effects. When Caesar's ghost appears to Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that...