Word: wagnerian
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Dates: during 1980-1989
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...hitters have disappeared from baseball. More predictably in a culture magazine, there are discerning reviews by Novelist Robert Stone of Joan Didion's Latin American reportage in her book Salvador, and by Staff Editor Walter demons and Los Angeles Times Music Critic Martin Bernheimer of Wagnerian opera productions for film and television...
...surprising frequency by a vocal minority at the Met when he takes his post-performance bows. Levine's tempos can be brisk to the point of hastiness, and in his enthusiasm for the music he often lets the sound of the orchestra overwhelm the singers, swamping them amid Wagnerian brass fortissimos or with the urgent sweep of passionate Verdian strings. Even the Met orchestra musicians, who are generally enthusiastic about their conductor, complain. Sometimes after a performance they leave informal, anonymous critiques: "Too loud, Maestro." "Much too slow." "Much too fast...
...matter, opera and art have very little to do with the journey that is undertaken. Instead a synthesized German pop soundtrack intrudes for much of the film. There is nothing to sustain the meaning, and it is no wonder that Fitzcarraldo falls apart. It's like watching a Wagnerian opera where the sound has been turned off. All that remains are frantically moving lips and hollow gestures...
Such devotion was a bulwark for both of them against an ungrateful world. Old Liszt swooped down occasionally to inflame Cosima's feelings of guilt. Nietzsche betrayed the cause with attacks on Wagnerian aesthetics. King Ludwig offered ardent support one moment and retreated into incipient madness the next; reports reached the Wagners that he went in and out of his palaces only by the windows and once ordered dinner for twelve, then sat down alone after bowing to the empty seats. Weary and overextended, Wagner toyed with emigrating to the U.S. on the condition that the American faithful would...
...more welcome because the season, still somewhat colored by 1980's labor disputes, began in a lackluster fashion. Soprano Renata Scotto was booed in her opening-night performance of Norma, and a Ring semicycle (Das Rheingold and Siegfried) fizzled out in something less than Wagnerian glory. It was in December, with Franco Zeffirelli's lavish cast-of-thousands production of La Bohème, that the company began the return to form...