Word: kopelson
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Triumph of the Spirit might be expected to transcend this label, if only because of one line in the movie's final credits: "Filmed on location at the Auschwitz-Birkenau concentration camps." Co-producer Arnold Kopelson won ! permission from Polish authorities to use the huge camps (now museums) as the setting for his story. How chilling it must have been for the actors and especially the extras -- many of them Auschwitz survivors -- to see the place restored as if in full working order...
ROBERT G. KOPELSON...
Also: Peter A. Jaszi; Frank M. Kahr; Joseph A. Kanon; Anil Khosla; Walter Kiechel, III; Robert G. Kopelson; Thomas E. Kruskal; Robert J. LaRocca; Robert D. Levin; David O. Loud; Harold S. Luft; Randolph H. Lundberg; Harry K. Macwilliams; Neil S. Mayer...
...program opened and closed with two "heavies" from choral literature. Brahms' Schick-salslied, Op. 54, is one of those perrenial favorites of college glee clubs, not terribly difficult to put together and always effective. The singers also made the most of Holderlin's Weltschmerz. Accompanist Robert Kopelson's two-piano arrangement was the best thing next to a full orchestra. He and Lowell Lindgren played it admirably, managing to succeed in spite of Prof. Schmidt's inconquerable compulsion to conduct even them...
...longest time musicians here have assumed that anything is possible as long as they have enough imagination to think of impressive projects and enough gall to go through with them. If this Fidelio is not taken as a warning, the result could well be disastrous. ROBERT G. KOPELSON...