Word: exceptions
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1980
Sort By: most recent first
(reverse)
...world which will grow not less but more merciless as it refines itself. Progress in our world will be progress toward more pain. The old civilizations claimed that they were founded on love or justice. Ours is founded upon hatred. In our world there will be no emotions except fear, rage, triumph, and self-abasement. Everything else we shall destroy--everything. Already we are breaking down the habits of thought which have survived from before the Revolution. We have cut the links between child and parent, and between man and man, and between man and woman. No one dares trust...
...choosing the best. The result was a ripsnorting melodrama that offered Elizabethas what horror movies provide us today. Richard III lacks the subtlety, artistry and development that we see in his nearest relatives, Macbeth and logo. And the whole play moves straightforwardly, putting few difficulties in our way except for a confusing genealogy...
...second encounter with the role, Moriarty gives us an odd but consistently fascinating Richard, placed in the Napoleonic era. As written, Richard is not so much a role as a collection of roles. For, except in his soliloquies, Richard is ever the actor, putting on one false face after another. Moroiarty's performance is too much on an even level, without emotional highs and lows...
Schoenberg's dissonances have long since become the common currency of 20th century music. No other composer of his time except Stravinsky has proved as influential, and even Stravinsky came around at the end of his life to his rival's method of composition. Yet today, nearly 30 years after Schoenberg's death, the question of what ordinary concertgoers will think of him remains unsettled. The music, like the man, is complex, uncompromising, obstinately single-minded in its innovative rigor. Audiences have felt, as many critics have, that Schoenberg put truth before beauty. They have often found...
Erwartung's nightmare ambiguities can have a haunting power. The Santa Fe production makes them rather tame, except in the astringent sonorities arising from the orchestra pit. Soprano Nancy Shade, as the woman, has command of Schoenberg's difficult idiom, but her voice lacks the dramatic weight for a role that, as Musicologist Wilfrid Mellers describes it, is essentially "Isolde in nervous disintegration...