With high hopes one evening last week hundreds of earnest music-lovers went to Manhattan's Metropolitan Opera House, prepared to listen in all respect to a long-neglected masterpiece. Gluck's Orjeo et Eurydice, missing from the Metropolitan repertoire since 1914, had been promised as one of the highlights of the Popular Spring Season (TIME, May 25). The production was to be in a way experimental, with the singers placed in the orchestra pit while dancers from the American Ballet mimed their roles on the stage. Even among purists such a prospect aroused little concern....
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