Word: scoring
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Dates: during 1960-1960
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...victory over Buchholz and his boyhood partner from St. Louis, stocky Chuck McKinley, 19. Next day Pietrangeli kept Italy alive by using patty-ball tactics to befuddle the slugging Buchholz, 6-1, 6-2, 6-8, 3-6, 6-4. That put the team score at 2-2 and set up a showdown between MacKay and Sirola, two of the hardest hitters in tennis...
This one, however, is in color; brilliant reproductions-from Rubens to Rembrandt-fill the screen, with occasionally interspersed photographs of the pastel landscape of the Holy Land as it is now. Accompanied by a superb Robert Russell Bennett score, detail follows detail from the works of the masters-the pale, thin-lipped face of the Virgin in Rogier van der Weyden's Annunciation, fearful tears in the aged eyes of a Jordaens shepherd, Massys' open-mouthed Magi. Skillfully but not trickily panning across the pictures from face to face, scene to scene, Producer-Director Donald Hyatt achieves...
...opera proved that the cultural commissars Lad a supersensitive nose for bourgeois decay and no ear for music. They had completely ignored a libretto that wallowed in patriotism, and a highly melodious score. Based on a Stalin prize-winning novel, Prokofiev's Story tells of a World War II pilot who lost both legs in a crash and lived to fly again, after a harrowing, 17-day crawl behind enemy lines (enacting this scene, the opera's hero sings flat on his belly). With the composer and his wife themselves adapting the tale, the entire effort seems...
...Hallmark Hall of Fame. Composed by Philip Bezanson with a libretto by Paul Engle, the new work sounded a lot like Menotti gone western-and gone weak. The music kept attempting to soar melodically, but kept being dashed to the ground again by its own heaviness. Still, the score had its stirring, lyrical moments, and Golden Child deserved credit at least for trying to be a serious addition to American opera, to TV and to the season...
Amid the melodrama, Golden Child occasionally achieves a sort of folksy universality. While much of the time the score becomes overwrought and the lyrics contrastingly simpleminded, the two collaborators-both members of the State University of Iowa faculty-complement each other remarkably well. Poet-Professor Engle, who heads Iowa's top-rated writing workshop, had joined with Associate Professor of Music Bezanson before on-among other works-a set of tenor songs based on the poet's collection, The Word of Love. Although they would like to try another opera, they would not want to start next time...