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Harry Kupfer

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ENTERTAINMENT
August 14, 1988 | MARTIN BERNHEIMER
This gemutlich little city, like the exiled warrior-maiden Brunnhilde, sleeps peacefully during most of the year. Then, for five chaotic weeks, Bayreuth awakens to become a stodgily glamorous mecca for dauntless amateur Wagnerians, for the creme de la creme of conspicuously consuming European society, for a curious collection of visible politicos, for scandal aficionados, voice groupies and music critics.
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ENTERTAINMENT
August 14, 1988 | MARTIN BERNHEIMER
This gemutlich little city, like the exiled warrior-maiden Brunnhilde, sleeps peacefully during most of the year. Then, for five chaotic weeks, Bayreuth awakens to become a stodgily glamorous mecca for dauntless amateur Wagnerians, for the creme de la creme of conspicuously consuming European society, for a curious collection of visible politicos, for scandal aficionados, voice groupies and music critics.
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ENTERTAINMENT
March 7, 1991 | MARTIN BERNHEIMER, TIMES MUSIC CRITIC
A new avenger was reunited with his blood-crazed sister in the fourth and final performance of "Elektra," presented Tuesday by the Music Center Opera at the Dorothy Chandler Pavilion. Michael Devlin, who functions unofficially as the resident would-be heldenbariton , succeeded the lightweight Rodney Gilfry as the mysterious Orest. He made the most of the challenge, under trying conditions.
ENTERTAINMENT
July 23, 1986 | FERRY WINNER, United Press International
Officials predict a sellout for the prestigious Salzburg Festival, which opens Saturday and runs through Aug. 31, despite the shadows cast on it by the election of Austrian President Kurt Waldheim. West German sociologist Prof. Ralf Dahrendorf withdrew his pledge to give the opening speech, traditionally done by a reputed scientist or artist, saying he does not want to speak in front of an audience that includes Waldheim.
ENTERTAINMENT
June 25, 1991 | PETER GOODMAN, NEWSDAY
With political and cultural turmoil surging through the Soviet Union like ground waves from an earthquake, the Bolshoi Opera urgently needs to make a hit on its first visit to the United States in 16 years. Resumption of contact with an American audience--beginning tonight at the Metropolitan Opera--is "very important to us," said Valery Levental, the Bolshoi's chief designer and one of the three men considered the architects of a far-ranging reshaping of the world-famous company.
ENTERTAINMENT
February 13, 1991 | MARK SWED, SPECIAL TO THE TIMES
"Orfeo ed Euridice," in the original version Christoph Willibald Gluck wrote for Vienna in 1762, is a short, direct, perfectly proportioned Age of Enlightenment opera. A minimalist of his day, Gluck strove for what he called "beautiful simplicity," and he succeeded with some exceedingly pretty music.
ENTERTAINMENT
August 26, 1990 | DANIEL CARIAGA
If it's been some time since you heard a salvo in the perpetual battle between Los Angeles and New York City, try this one: "We would question the seriousness," says Ernest Fleischmann, using the royal pronoun unabashedly, "of putting on everything Mozart wrote, as will be done by a city we know about."
ENTERTAINMENT
February 9, 1987 | MARTIN BERNHEIMER, Times Music Critic
"Der Fliegende Hollaender" must be the easiest, the most accessible, the most lyrical, the lightest of Richard Wagner's heavyweight music dramas. Nevertheless, it is something of a stretch for the San Diego Opera. Saturday night at the Civic Theatre, the San Diegans made a noble effort to rise to the lofty challenge. The assembled spirits obviously were willing, even when the resources of preparation time, manpower, finances--and imagination--were not.
ENTERTAINMENT
June 17, 1991 | MARTIN BERNHEIMER, TIMES MUSIC CRITIC
This, in case you have been off the planet, is the year we celebrate the 200th anniversary of Mozart's death. It also has turned out to be the year in which we take particularly long and hard looks at the convolutions and contradictions of "Cosi fan Tutte." This lofty yet forbidding tragicomedy of Eros already has been staged, elaborately and traditionally, in both San Diego and Los Angeles.
ENTERTAINMENT
February 16, 1989 | MARTIN BERNHEIMER, Times Music Critic
Remember Beethoven's "Fidelio"? It used to be a noble Romantic opera predicated on daring expressive contrasts. It dealt with basics: good versus evil, freedom versus oppression, lyricism versus drama, Singspiel intimacy versus heroic grandeur. Forget all that. In staging Beethoven's daunting masterpiece for the first time, the San Diego Opera has refused to leave lofty enough alone.
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