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Shostakovich, only 27 at the time of the opera's premiere, set his text with stunning effectiveness, the music by turns tragic and sardonic. Often, as in the seduction scene, the score simply overwhelms the listener with its irresistible force. At other tunes it beguiles, charms and saddens, as...

Author: /time Magazine | Title: Add One to the List of Greats: Dmitri Shostakovich's Lady Macbeth | 10/5/1981 | See Source »

Of the remaining four songs, two are insignificant. "Deadman, Deadman" is a rather dull reggea, while "Trouble" is a loud blues that leaves the listener indifferent.

Author: By Antony J. Blinken, | Title: After the Flood | 10/3/1981 | See Source »

In his embrace of opera, Harbison has rediscovered the primacy of the human voice. Not that he wants to write like Verdi. "I'm not nostalgic for tonality," he says. "It is one of the easiest ways of getting a response from an audience, and I'm not...

Author: /time Magazine | Title: Music: Composer with a Hot Hand | 8/24/1981 | See Source »

The slightly beat-up set, with Cronkite in the middle of what looks like a newspaper copy desk, is the way Cronkite wants it. Let other networks experiment with big anchor desks like airline counters, glitzy overhead lighting like a Vegas hotel lobby, or space-age backdrops of multiple TV...

Author: /time Magazine | Title: Newswatch: The Age of Cronkite Passes | 3/9/1981 | See Source »

The most ardent short-wave listener anywhere may be in Tel Aviv. Journalist Michael Gurdus, 36, who works for the Israel Broadcasting Authority, has ten radios in his apartment to keep a constant check on electronic traffic in seven languages. He never leaves home during a crisis, and his scoops...

Author: /time Magazine | Title: Living: Babel in the Ionosphere | 1/12/1981 | See Source »

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