Word: tempoed
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Dates: during 1950-1959
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...Wolfgang, who will dare anything, decided the old Venusberg needed some drastic new landscaping. They hired fast-rising, Kiev-born Conductor Igor Markevitch, who had never done Wagnerian opera before, then replaced him with Germany's Joseph Keilberth. "I was not aware that anybody here was interested in tempo," huffed Markevitch at one point. "All they talk about is lighting"-and no wonder, for Director Wieland Wagner's new staging relies mainly on light effects. When the trumpets announced curtain time one afternoon last week, nobody at Bayreuth quite knew what to expect...
...through deep bass notes. Then came the cadenza, which was really too intricate for a tuba. The instrument cleared its throat and got going. But soon the movement ended in a romp, with orchestra and tuba neck and neck. The second movement came off beautifully. In a slower, sustained tempo. Catelinet poured out a rich sound, often booming up from the bass into a fruity contralto. Warmed up now, he launched into the difficult final movement with confidence. The tuba lumbered along in its elephantine way and right into another cadenza. This time Catelinet's solo came off well...
Cigar Boxes. Elisabeth introduces Ernst not only to the hot quick tempo of love on a furlough but to the moral decomposition of Nazi Germany. Her gentle doctor father, informed on by a tenant in his own house, is carted off to a concentration camp, and his ashes are subsequently returned in a cigar box. Ernst charms away such horrors with a symbol, a linden tree flowering affirmatively amid the ruins of his home-town square. Filled with a deep if obscure faith in the future, he marries Elisabeth and goes back to war, only to be killed by some...
Their show sails through a dozen musical numbers, with Margo chanting in her smoky contralto, Eddie singing, when he sings, in about the same vocal range, both of them whirling and capering between times. The act begins at breakneck tempo, works itself into an autobiographical lather (Never Marry a Dancer), takes a breather when Albert throws all his theatrical technique into September Song a la Walter Huston. Then it sidles off into a calypso tempo (Man, Man Is for the Woman Made), goes serious again when Margo dramatizes a mother's prayer (from Irwin Shaw's Sons...
...body was not surprising. But they did achieve what is within the reach of the best amateur groups; that alertness which results in playing even the "easy" parts with bite an precision, and an unanimity and assurance in the entrances. Burgin allowed himself virtually no shadings in the tempo within a given section. This was regrettable, though perhaps unavoidable, for Schubert seems longest when he's gotten over most quickly; and the memory of a Mahier 4th performance a few weeks ago proves that Burgin can be very adept in the Viennese style when he wishes...