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...BILL WAGNER...

Author: /time Magazine | Title: Letters, Jan. 31, 1972 | 1/31/1972 | See Source »

Such shifts in the balance of power between oil possessors and oil users were very much on the minds of negotiators in Geneva. Both sides were bargaining for advantage, but neither seemed to know precisely where the best position lay. Said Gerrit A. Wagner, a senior managing director of Royal Dutch/Shell, the largest non-U.S. industrial business: "There is great concern in most OPEC countries that they will go too far and kill the goose that lays the golden eggs. They know that there is a point beyond which they should not raise the price. But they...

Author: /time Magazine | Title: OIL: Facing a Powerful Cartel | 1/24/1972 | See Source »

...Richard Wagner was determined to make a name for himself in Paris. So when the Paris Opéra rejected his latest work, Tristan und Isolde, Wagner dusted off his Tannhäuser, which had been produced in Dresden 16 years earlier, and Frenchified it. He wrote new music for a ballet in the first scene and reworked the character and music of the love goddess Venus in his best chromatic, post-Tristan style...

Author: /time Magazine | Title: Music: Rebirth of Venus | 1/10/1972 | See Source »

...recording is a knockout, fully comparable to London's history-making Ring cycle. Conductor Georg Solti, today's top conductor of Wagner, makes the opera brilliant and unabashedly grand. As Venus, Mezzo-Soprano Christa Ludwig seethes with eroticism, suggesting a world of impossible sexuality. Soprano Helga Dernesch as Elisabeth, Wagner's virginal opposite to Venus, is the perfect embodiment of pinched Victorian purity. Best of all is Tenor René Kollo, a German pop singer metamorphosed into a Heldentenor, who sings Tannhäuser with a gleaming tone, power, and a dramatic force unequaled since Lauritz Melchior...

Author: /time Magazine | Title: Music: Rebirth of Venus | 1/10/1972 | See Source »

Music criticism is a parasitic occupation. If you live, like Bernard Shaw, at a time when you can introduce a Wagner to your readers, you can become a great critic. But if you cannot crusade for a contemporary composer, I don't think you can make much out of music criticism. I hate to say so. but I don't think music criticism has much of a future...

Author: /time Magazine | Title: Music: The Parasitic Profession | 1/10/1972 | See Source »

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