Word: tempoed
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Dates: during 1950-1959
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...glistering, her phrasing spacious. Her cues to the orchestra were kept to a minimum: a somewhat stiff sweep of the arms to launch a movement, followed by a nod of her head or even the lift of an eyebrow to cue individual sections. Her piano itself set the tempo, which Tureck accentuated by bobbing slightly on the piano bench...
...basic conducting is done. Pianist Tureck hands out her own editions of the works to be played (no printed editions of the original Bach orchestral parts are available), explains to the orchestra what her artistic concept is and why she has called for specific details of phrasing, dynamics, tempo. The major problem, she finds, is "getting a new idea of Bach across" to orchestra men chiefly schooled in the romantic repertory of the 19th century. In describing her ideas, she avoids technical detail, often uses phrases like "Keep it broad!" Once, during rehearsal last week, she cried, "You know what...
This Old Vic Twelfth Night could hardly be brighter. To expect the plot to sprint, the jokes to put on new leaves, the performing never to be mannered or coy would be unreasonable. Illyria still keeps its Old World tempo, and the plot its tollgates. But the poetry dances in and out of the prankishness, the air is brushed with light, the carousing invokes no shudders and provides some laughs. Richard Wordsworth's Malvolio is grandly absurd in the letter scene, and in his yellow stockings and cross garters, really funny. Jane Downs's Olivia, Judi Dench...
Neither in San Francisco beatnik saloons nor Manhattan dives could this inspired narrative have been heard last week, but it echoed through Munich jazz cellars. U.S.-style rock 'n' roll, with its clog-shoe tempo and its far-out jargon, is sweeping Germany and leaving the language in Teutonic tatters.* Along with the new lingo, a new generation of singers (or shouters) have appeared, all of them alarmingly young. Where U.S. rock 'n' rollers are well along in years (19-25), Germany's top practitioners are in their early teens, and at least one solid...
...Radames, Italian Baritone Tito Gobbi as Amonasro. But the stage sets looked as though they had been resurrected from an early copy of the Victor Book of Operas: cluttered scenes with every temple, tower and palm frond rendered in tedious detail. And Paris Opera Conductor Georges Sebastian throttled the tempo to a crawl, once even goaded Tenor Bjoerling into striking out for several bars at a brisk clip all his own. The costumes matched the sets: an indeterminate sausage-roll garment for ample Soprano Rysanek, an orange-colored Raggedy Ann wig for Soprano Simionato. a short man's nightgown...