The New York City Opera swung into its spring season last week with a double bill devoted to the psychological and the tactical aspects of love. Bela Bartok's Bluebeard's Castle, a moody, Freudian opus (TIME, Oct. 13), came first. Then in a more frolicsome vein, came Ravel's L'Heure Espagnole, and its story of light-hearted Spanish intrigue. Apart from the tact that both operas were done thoroughly to the first-nighters' taste, the chief interest centered on the second conductor of the evening. After Company Director Joseph Rosenstock had conducted Bluebeard, he turned over the...
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