Search results
Results From The WOW.Com Content Network
Wagner's work has appeared in outlets including The New York Times, [2] National Public Radio (NPR), [3] the Los Angeles Times, [4] and the Chicago Tribune, [5] as well as trade publications including the LBM Journal, [6] the Journal of Light Construction, [7] and Fine Woodworking.
The New York Times' John Rockwell wrote: "Hans Jurgen Syberberg's film version of Richard Wagner's music drama, Parsifal, should enthrall both film lovers and Wagner fans. Mr. Syberberg's work represents not only the summation of his career thus far, but is as gripping, strange and, in the end, devotionally faithful a staging as any Wagner ...
The opening August 1876 performance is attended by Ludwig who is slowly losing his mind, while living in his gigantic new castle Neuschwanstein. Wagner and Nietzsche have a falling-out over Wagner's lifestyle and ideas (including his rampant anti-semitism). Later in 1882, Wagner stages his last opera, Parsifal, under the conductor Hermann Levi.
Parsifal [a] (WWV 111) is a music drama in three acts by the German composer Richard Wagner and his last composition. Wagner's own libretto for the work is freely based on the 13th-century Middle High German chivalric romance Parzival of the Minnesänger Wolfram von Eschenbach and the Old French chivalric romance Perceval ou le Conte du Graal by the 12th-century trouvère Chrétien de Troyes ...
According to The New York Times, "[t]he scenery, costumes and effects were all designed and executed with great art and caused admirable results." [ 58 ] Of particular note was the performance of Joseph Beck who sang Alberich: "a fine example of Wagnerian declamatory singing, His delivery of the famous curse of the ring was notably excellent in ...
150 metres is a sprint event in track and field.It is a very rarely contested non-championship and not an IAAF-recognised event.Given the proportion of standard running tracks, the event typically incorporates a bend when held in a track and field stadium, although some specially-built tracks allow the event to take place entirely on a straight.
Howard Thompson in his review for The New York Times, noted: "Performed well enough by a pretty good, predominantly male cast, headed by Robert Mitchum, and handsomely produced by Dick Powell, who also directed, the result is a respectable, rather neutrally flavored film that somehow only matters when aloft." [6]
Janet Maslin (The New York Times) Harold McCarthy; Todd McCarthy (Variety, The Hollywood Reporter) Michael Medved (New York Post, Sneak Previews) Nell Minow (rogerebert.com and moviedom.com) Elvis Mitchell (The New York Times, Fort Worth Star-Telegram, Los Angeles Herald Examiner, The Detroit Free Press) Khalid Mohammed (Hindustan Times)