Word: tempos
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...Esquivel and His Orchestra; RCA Victor LP; Stereo). Mexico's mood master transmutes a gaggle of standards-Begin the Beguine, Night and Day, It Had to Be You-into something new and cunningly deranged with the aid of bongos and a conga drum and a chili-flavored beguine tempo. Stunningly opulent sound...
...glistering, her phrasing spacious. Her cues to the orchestra were kept to a minimum: a somewhat stiff sweep of the arms to launch a movement, followed by a nod of her head or even the lift of an eyebrow to cue individual sections. Her piano itself set the tempo, which Tureck accentuated by bobbing slightly on the piano bench...
...basic conducting is done. Pianist Tureck hands out her own editions of the works to be played (no printed editions of the original Bach orchestral parts are available), explains to the orchestra what her artistic concept is and why she has called for specific details of phrasing, dynamics, tempo. The major problem, she finds, is "getting a new idea of Bach across" to orchestra men chiefly schooled in the romantic repertory of the 19th century. In describing her ideas, she avoids technical detail, often uses phrases like "Keep it broad!" Once, during rehearsal last week, she cried, "You know what...
This Old Vic Twelfth Night could hardly be brighter. To expect the plot to sprint, the jokes to put on new leaves, the performing never to be mannered or coy would be unreasonable. Illyria still keeps its Old World tempo, and the plot its tollgates. But the poetry dances in and out of the prankishness, the air is brushed with light, the carousing invokes no shudders and provides some laughs. Richard Wordsworth's Malvolio is grandly absurd in the letter scene, and in his yellow stockings and cross garters, really funny. Jane Downs's Olivia, Judi Dench...
...Radames, Italian Baritone Tito Gobbi as Amonasro. But the stage sets looked as though they had been resurrected from an early copy of the Victor Book of Operas: cluttered scenes with every temple, tower and palm frond rendered in tedious detail. And Paris Opera Conductor Georges Sebastian throttled the tempo to a crawl, once even goaded Tenor Bjoerling into striking out for several bars at a brisk clip all his own. The costumes matched the sets: an indeterminate sausage-roll garment for ample Soprano Rysanek, an orange-colored Raggedy Ann wig for Soprano Simionato. a short man's nightgown...