Word: present
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Dates: during 1960-1969
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Cavalli: L'Ormindo (Argo). Something practically unheard-of: an authentic, workable masterpiece miraculously retrieved from the past. One of the 17th century Venetian composers influenced by Monteverdi, Francesco Cavalli wrote melodiously, with great penetration into the personal relationships of his characters. The present recording stems from an edition pieced together by Raymond Leppard from musical fragments for a Glyndebourne production in 1967. The result is musically and dramatically spellbinding...
Private Lives epitomizes these characteristics. It is 40 years old and as young as tomorrow evening. The present production is stylish, smart, and bubbles with frivolity. Coward creates the aura of anticipatory delight. Momentarily, one expects something scandalous to be said, something bizarre to be done, characters to be mesmerically drawn to each other and just as galvanically repulsed by each other. Just as F. Scott Fitzgerald threw iridescent parties in his novels, Coward has saturated his plays with the ambience of sophistication. One always seems to be slumming upwards at a Coward play, forever lingering on a moonlit terrace...
...inhaled from a plastic blowgun, removed from their lungs. Other hazards include a child's electric stove that produced temperatures of 600° and a baby's rattle that was held together with spikelike wires. Under a law signed last month, the Government can ban the sale of toys that present electrical, mechanical or heat hazards. But the law does not become effective until after the Christmas buying season, and Congress disregarded a commission recommendation that the Department of Health, Education and Welfare pretest some kinds of toys for safety. By the estimate of the Product Safety Commission, about...
...good?" the husband inquires softly over a glass of bourbon. The lover looks astonished. "You seem to have a very nice apartment. Could I see it?" "Are you a little perverse?" the lover asks dubiously, but he takes his visitor on a tour. The sight of an old anniversary present in the lover's bedroom is too much even for the husband's reserve. He seizes a piece of sculpture, beats the lover to death, and disposes of the corpse like a sanitation man hauling away the weekend debris. The husband's fate is irrevocable, of course...
...religious conflict in the mind and body of Bomarzo's Duke Orsini. He recreates him as a hunchback who tells the story of his life as an omniscient observer, not only aware of his own time but of events from the time of his death until the present. Mujica-Lainez's implication is clear: Orsini's true immortality resides not in the few historical facts and artifacts we know but in his re-creation as a fictional character...