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...innovations: 1) to ditch realism for abstraction in the sets, 2) to make the stern old gods of Valhalla look less like period pieces. Designer Wieland Wagner's argument: the world has changed and so must the cult of Wagner...

Author: /time Magazine | Title: Music: Twilight of the Gods | 8/13/1951 | See Source »

...even see if he has a beard." (He had.) Shock followed shock. Wieland stripped his stages bare, cut down on all warlike gear save for a few essential spears. Siegfried's funeral pyre was left to the imagination. In Götterdämmerung, nobody got to see Valhalla burn: there was only a red glow in the sky, no sign of a cloud-borne castle...

Author: /time Magazine | Title: Music: Twilight of the Gods | 8/13/1951 | See Source »

John, who has no children, lives like a lord of the manor in a rambling Tudor stone mansion near Valhalla, N.Y., 22 miles north of Manhattan. He sometimes cruises the paths of his 365-rolling, wooded acres in a fringe-topped surrey drawn by one of his blooded road horses. He used to play golf on his private nine-hole course with his wife, Polly, but since her death last year has given up the game. Now he keeps fit raking leaves, laying stone walks to his favorite retreat, a cozy cabin overlooking a pond. His constant helpers in these...

Author: /time Magazine | Title: Red Circle & Gold Leaf | 11/13/1950 | See Source »

Last week Munich saw the first comprehensive show of new German art since the war. Held in Hitler's onetime headquarters, the massive FÜhrerbauhaus, it contained not a single blond Balder, buxom BrÜnnhilde or veiled Valhalla of the sort Hitler had liked to see. There were few still lifes or portraits either, and surprisingly few bitter or tragic pictures such as George Grosz and Kathe Kollwitz had made between wars. Instead of all that, the best young German painters were doing abstractions, by the acre...

Author: /time Magazine | Title: Art: Modern in the Dark | 2/27/1950 | See Source »

...Soprano Welitsch had critics reaching back for comparisons to Olive Fremstad, who sang (but did not dance) the U.S. premiere of Salome in 1907. And she carried the rest of the cast into the spirit of the thing with her: even though some of his voice has gone to Valhalla, Wagnerian Tenor Max Lorenz couldn't have been more convincing as the dissolute, incestuous Herod; and Baritone Joel Berglund, as Jokanaan (John the Baptist), had the starkness of a primitive carving as he hurled his curses on Salome. When the curtain was down, instead of morosely reaching for their...

Author: /time Magazine | Title: Music: Great Performance | 2/14/1949 | See Source »

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