Word: weekes
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Dates: during 1950-1959
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...Sand. To visitors last week, the foundry was still the place of weird shapes and leaping shadow that Duchamp-Villon and Brancusi knew well. In one room, sweet-smelling brown wax boiled on a rosy, potbellied stove. In the 100-ft.-long casting shed, coke fires hissed under fat crucibles shaped like medieval cannons, and overhead hoists trundled swaddled casts to their firing-pits. In a finishing room, a workman lay in the arms of a large bronze nude, reverently polishing her nose. In another corner, Marc Chagall supervised the application of a patina to his latest piece. Mustache quivering...
...process takes about a week in either case. At the moment the bronze emerges from the cast, the sculptor generally attends, like an anxious father awaiting the birth of a son. The bronze comes out orange, blue, red, yellow or gold. But these colors, caused by the firing, rapidly fade. Besides the usual bronze color, the Susse secret acids can produce mordant greens, equatorial blues and glossy black...
Just before the final curtain at a Broadway opening one night last week, the theater critic of the New York Times, a mild, slender, unassuming man with steel-rimmed spectacles and a grey mustache, slipped inconspicuously out of the Lyceum Theater and walked two blocks back to his paper. He settled into his chair on the third floor of the Times building on 43rd Street, and following the practice of years, spread out the theater program, a dozen freshly pointed pencils and a legal-size pad of lined paper. Then, writing by hand, one paragraph at a time-each snatched...
When Kirsten Flagstad in 1935 made her Metropolitan Opera debut in Wagner's Die Walkuere, the audience cheered and the press groped for comparisons with "the irrecoverable magic" of Swedish-born Soprano Olive Fremstad.* Last week another Swedish Wagnerian soprano strode the Met's stage, and this time the comparison was to the "incomparable" Flagstad herself. The debutante: 41-year-old Birgit Nilsson, whose appearance in a new production of Tristan und Isolde touched off the kind of debut furor the Met's Wagnerians have not witnessed in a quarter-century...
...lank-haired man in tweed jacket and maroon wool shirt, was none other than rehearsal-weary Carl Orff, Germany's most famed modern composer. Hours, or even minutes, of Orff have indeed often proved too much for some tradition-minded audiences in Europe and the U.S. But last week crowds were thronging to the Stuttgart Opera House for a solid week of Composer Orff's works, including his latest: Oedipus der Tyrann, a highly individual dissertation on the Sophocles tragedy...