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...Eanum Pig" was his code for her) but never said a memorable thing to anyone else -- except for the Duchess's mot, refuted by her own person, that one cannot be "too rich or too thin" -- are still imagined, especially by elderly Americans, to be a modern version of Tristan and Isolde. Hence Sotheby's spent a bundle before the sale hyping the jewels and went into a second printing with a $50 catalog that dilated, as though describing the iconography of a Rubens, on such events as the death of the future Duchess's dog Slipper...

Author: /time Magazine | Title: Art: Of Vincent and Eanum Pig | 4/13/1987 | See Source »

...Watson's natural dramatic and stylistic corollary, Linus Gelber plays the eccentric Tristan Tzara with delightful expression and intensity. In some scenes, Gelber is the quiet and effete conversationalist. Then, he suddenly will burst out into a rage of "Dada, Dada," toppling chairs over as he goes. Gelber serves as a necessary energetic interlude in a play that often becomes too quiescent...

Author: By Thomas M. Doyle, | Title: Half Truths | 3/14/1986 | See Source »

...Tristan and Isolde Through the Middle Ages: music based on the legend, BU Concert Hall, Friday...

Author: NO WRITER ATTRIBUTED | Title: October 10-16 | 10/10/1985 | See Source »

...Brilliant Career) might seem to make a good protofeminist match, but the results are dour and disappointing. The film's strongest suit--Russell Boyd's sepulchrally seductive cinematography--ironicall y seals its doom. Mrs. Soffel (rhymes with woeful) is Bonnie and Clyde with the emotional lights turned down, Tristan und Isolde without the saving soaring music...

Author: /time Magazine | Title: Cinema: Rushes Mrs. Soffel | 1/14/1985 | See Source »

Since the death of Wolfgang Windgassen in 1974, Wagnerites have bewailed the dearth of stalwart voices to tackle parts like Lohengrin, Tristan and Siegfried. Although he has said that he would some day like to sing Parsifal and perhaps Tristan, Domingo's natural territory is the lyric roles of Italian and French opera. It is too much to expect him to become a true Heldentenor: he lacks the sheer force to surge over Wagner's complex orchestral writing, his German diction is heavily Latinized, and his phrasing belongs to the Mediterranean, not the Teutonic, school...

Author: /time Magazine | Title: Music: Going for the Grail at the Met | 10/8/1984 | See Source »

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