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...tipsily toward the footlights, and gusts of damp winter air surged from the wings. The piano plunked like a loosely strung mandolin. But the audience listened to the big, barrel-chested baritone with the rapt concentration of buffs at the Metropolitan Opera. They stomped lusty approval of arias from Tannhäuser and The Barber of Seville, art songs by Delibes and Debussy, lieder by Karl Loewe and Schubert...

Author: /time Magazine | Title: Music: Beethoven in the Bush | 7/28/1958 | See Source »

...after the war as assistant conductor at the Augsburg Opera (where he also occasionally tinkled the triangle in the pit). In 1953 he tried out (with 64 other applicants) for the job of music director at Aachen. With a piano score Sawallisch prepared Aachen's cut version of Tannhäuser, learned on his way to the podium for the last act that a 20-page cut had been restored, sailed through the intricate music at sight without a bobble. He was promptly hired...

Author: /time Magazine | Title: Music: Conductor in Demand | 8/5/1957 | See Source »

World Music Festivals (Sun. 2 :30 p.m., CBS). Wagner's Tannhäuser, recorded at Bayreuth...

Author: /time Magazine | Title: RADIO: Program Preview, Oct. 4, 1954 | 10/4/1954 | See Source »

Musically, the production proved to be more than adequate, despite the fact that Tenor Ramon Vinay and pretty Soprano Gre Brouenstein showed signs of strain. The chorus, one of the world's finest, performed brilliantly. But the chief attraction, as usual, was the staging. Wieland sees Tannhäuser as a harried misfit in a world of rigid conventions. Dressed in a black cloak (while the other minstrels wear brown), he moves among stiff, almost mechanized people of the court. Preparing for the crucial song contest in the second act-usually staged with casual confusion-uniformly dressed...

Author: /time Magazine | Title: Music: Topnotch Tannh | 8/2/1954 | See Source »

After the final curtain, half of the Bayreuth audience seemed in tears, clapped for 15 minutes. With Tannhäuser, the Bayreuth brothers have now redraped all the standard Wagner works in their new, bare, dramatically lighted dress. Their style has become a prototype for new Wagner productions in most major opera houses. Notable exception: New York's Metropolitan, whose Wagner producers seem never to have heard of Bayreuth's lighting, let alone Minsky...

Author: /time Magazine | Title: Music: Topnotch Tannh | 8/2/1954 | See Source »

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