Word: lincolns
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Dates: during 1990-1999
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...American Songs by Aaron Copland (winningly sung by baritone Thomas Hampson). Then Masur, who has led Leipzig's venerable Gewandhaus Orchestra since 1970, reached under his tailcoat and produced his own credential: an authoritative, warmly expressive version of Anton Bruckner's Symphony No. 7. This served to remind the Lincoln Center faithful (and a national TV audience) that his roots lie deep in the European romantic tradition. Clearly Masur, 64, a one-man back-to-basics movement, intends to move the brilliant, erratic, often fractious Philharmonic more into line with that tradition -- diplomatically, of course. Judging from...
This summer, I endured an utterly mediocre Cobb salad at a restaurant in my hometown of Lincoln, Nebraska. There wasn't enough bleu cheese in the salad, but I'm not going to hold a grudge against the owner. I'd still support Sen. Bob Kerrey for president...
...Kerrey shouldn't be judged by his dining establishments. The salad might have lacked pizazz, but Kerrey does not. He has charisma. He has glamour. He's good looking. When "Terms of Endearment" was filmed in Lincoln, Debra Winger, uh, moved into the, uh, Governor's Mansion. Guess who was governor...
...right now, you can bet it'll be Frank Loesser. Though the songwriter died in 1969, his work is enjoying a burgeoning revival. Last week Loesser's "musical with a lotta music," The Most Happy Fella (1956), opened to bravos and bouquets at the New York City Opera in Lincoln Center. A more intimate version of Fella will come to Broadway later this season, as will Loesser's damn-near-immortal Guys and Dolls (1950). This summer's straw-hat circuit was brightened by Where's Charley? (1948), starring Loesser's widow Jo Sullivan and their daughter Emily Loesser...
...teamed with William Schuman -- later a distinguished classical composer and president of Lincoln Center -- to write songs and skits for vaudeville and radio performers. "He was an intellectual," Schuman recalls, "who'd go to the ends of the earth to hide that from anybody. Altogether brilliant." He moved on to Hollywood in 1937, fashioning bright novelties for comedy and dramatic actresses. Marlene Dietrich memorably mooed See What the - Boys in the Back Room Will Have, and Bette Davis croaked the wartime lament They're Either Too Young or Too Old. It was all 'prentice work for a man who would...