Word: weill
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...very top of the list was Michel David-Weill, 54, a senior partner at the Manhattan-based Lazard Freres investment firm. According to FinancialWorld, David-Weill earned an estimated $125 million last year. He had pulled down only an estimated $50 million in 1985. (Lazard Freres disputes the 1986 FinancialWorld figure, arguing that David-Weill earned only somewhere between $65 million and $75 million last year...
...Good Woman has all the nasty wit of his best known work, The Threepenny Opera. Unfortunely, Opera collaborator Kurt Weill was long gone when Brecht wrote this play, so director Serban commissioned hip New York composer Elizabath Swados to score Brecht's songs. Some of her past work like Runaways, has been pretty vile, but in Good Woman some of her curt, antimelodic songs are pretty fair substitutes for Weill. This is less laziness on Swados's part, I think, than the fact that Weill's music was the perfect accompaniment to Brecht's cynical, plebian lyrics...
...Family, has to answer for $1.5 million. CBS Chief Executive Laurence Tisch's deductions amounted to $1.1 million, while his brother Preston, the U.S. Postmaster General, benefited from a $480,508 write-off. The biggest hit may have to be taken by French Financier Michel David-Weill, who owns 35% of Lazard Freres, a highly successful securities firm. If the Government prevails in the case, he stands to lose at least $4.4 million in deductions...
VICTOR HERBERT: The American Girl. Soprano Teresa Ringholz, with Donald Hunsberger conducting the Eastman-Dryden Orchestra (Arabesque). KURT WEILL: Stratas Sings Weill. Soprano Teresa Stratas, with Gerard Schwarz conducting the Y Chamber Symphony (Nonesuch). Americans seem to have show music in their blood, even when they were immigrants like Weill (Germany) and Herbert (Ireland). Herbert, a cello virtuoso and conductor who directed the Pittsburgh Symphony from 1898 to 1904, wanted to be taken seriously -- as did, similarly, Sir Arthur Sullivan -- but it was his 40-odd operettas (Babes in Toyland, Naughty Marietta) that won him lasting fame. Hunsberger leads crisp...
Unlike the songs on Stratas' earlier album, The Unknown Kurt Weill, these are among the composer's most familiar. The soprano's increasingly raw voice is not entirely suitable to the works of the American period, like the wistful waltz Foolish Heart, from One Touch of Venus. But it is just right for the angry desperation of the Brecht-Berlin years; the harsh, bitter edge to the smoky Surabaya-Johnny proclaims there will be no happy end here...