Word: bohm
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...reason that Karajan, Karl Bohm, Carlo Maria Giulini, Sir Georg Solti and the other gerontocrats who dominated the musical scene after World War II were able to last so long was that there was simply no seasoned competition: the conflict killed off a whole generation of Europeans and some Americans, from whose ranks their successors might ordinarily have emerged. Partly as a result, the repertoire stagnated as Karajan and his contemporaries grew increasingly out of touch...
...oversize trompe l'oeil portcullis, Zueblin House is monumental and yet entirely permeable, lucid but not glib. The clear, simple axes and pitched-roof profile are classical, and the expansive ectoskeletal shed seems snatched from some 19th century dream of the 20th. The building's priapic pivot alludes to Bohm's own pioneering work: the central spiraling stair could be an ancestor or descendant of the tower at Bensberg...
...Bohm practiced all the post-modernist tenets long before they were preached, yet his buildings provide none of the easy reassurance of neat taxonomy. His work has evolved continually, but not in response to shifts in fashion or doctrine. Like Finland's Alvar Aalto, Bohm invented his own humane, smart architectural dialect, and then waited patiently for the rest of the world to learn...
Both Lola and Veronika Voss are set in 1955. Lola (Barbara Sukowa) works in a Coburg bordello: chanteuse for the early show, and after that "the woman with the sweetest ass in NATO" for the town's corrupt burghers. Von Bohm (Armin Mueller-Stahl) is an honest public official whose idea of an evening's entertainment is to watch the test pattern on his new TV set. Unaware of Lola's occupation, Von Bohm takes her on a date to church-such are the idealist's hopes for a spiritually healthy postwar Germany-and falls...
DIED. Karl Böhm, 86, august Austrian conductor celebrated for his lucid, authoritative interpretations, especially of Mozart, Wagner and his friend Richard Strauss; of a stroke; in Salzburg, Austria. Despite the international scope of his appearances and recordings, Bohm remained most closely associated with three great native institutions: the Vienna State Opera (at which he served two stints as director), the Salzburg Music Festival and the Vienna Philharmonic. A stickler for detail who shunned showmanship for clarity and fidelity to the score, he once said: "I bring to conducting my own enthusiasm for the music-and then there...