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Married. Lauritz Melchior, 74, famed Wagnerian tenor now in retirement; and Mary Markham, 40, his onetime secretary, now a top Hollywood booking agent; he for the third time, she for the second; at Melchior's estate near Santa Monica, Calif...

Author: /time Magazine | Title: Milestones: May 29, 1964 | 5/29/1964 | See Source »

...presentation of Parsifal could hardly have been better-even if they did seem a little bit old and fat for college students. There in the role of Parsifal was Charles Kullman, a veteran tenor from the Met; as Kundry, there was Margaret Harshaw, who has been a leading Wagnerian soprano since the '40s. Both are now "artist-performer-teachers" at Indiana, and Indiana is far and away the nation's most ambitious music school...

Author: /time Magazine | Title: Education: Singing at Indiana | 3/27/1964 | See Source »

Fewer Stogies. In West Germany, where the round of ceremonies honoring Adenauer promises to reach Wagnerian proportions, his successor-designate, Vice Chancellor Ludwig Erhard, stayed discreetly out of the limelight...

Author: /time Magazine | Title: West Germany: The Time of the Sphinx | 9/27/1963 | See Source »

...Erich Leinsdorf to the contrary notwithstanding [Aug. 23], we have more first-class Wagnerian singers now than we had in the Melchior-Flagstad era. In the last few years the Metropolitan Opera has offered us such topnotch artists as Birgit Nilsson, Leonie Rysanek, Gladys Kuchta, Inge Bjoner, Regine Crespin and Anita Valkki, sopranos; Jon Vickers, Sandor Konya and Jess Thomas, tenors; Jean Madeira, Nell Rankin and Irene Dalis, mezzos; George London, Hermann Prey, Walter Cassel and Eberhardt Wachter, baritones; and Jerome Hines, Giorgio Tozzi and William Wilderman, bassos...

Author: /time Magazine | Title: Letters: Aug. 30, 1963 | 8/30/1963 | See Source »

...well-chosen and well-performed presentation. Although never a favorite with the Victorian audience (who considered its sanguinary title a bit close to the bone), Ruddigore is a good example of middleweight G. and S. with Glibert's jibes at Gothic melodrama complemented by some wonderfully quasi-Wagnerian effects by Sullivan. Purists might object to Director Robert Gibson's use of the shorter and weaker of the two second act finales extant and to his omission of the charming duet, "The Battle's Roar Is Over," but by any standards the production is a success...

Author: By Timothy S. Mayer, | Title: Ruddigore | 7/26/1963 | See Source »

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