Otto Klemperer was very much a man of the theatre. “Here, opera and drama were truly united,” he said of his time at Berlin’s Kroll Theatre, a progressive and influential force in the heady years of the Weimar Republic. He was also a man with a sharp sense of humour: this performance of Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream both glows with enchantment and sparkles with wit.
"…This is what might be called big band Mozart, with none of the modern early music refinements coming into play as in the cycles of Pinnock or Hogwood. This is Mozart on modern instruments in a large-sized orchestra – not just 40 musicians like some so-called “authentic” recordings. On the other hand, Klemperer has a different approach to this music that he obviously adored and was fully familiar with. While cycles by Mackerras, Bohm, Karajan, Bruno Walter and others may compete in some ways, Klemperer’s efforts stand up amazingly well now that one can hear details in the recordings which were never exposed before except in the mastering studio." ~audiophile-audition
In 1896, Otto Wagner’s Modern Architecture shocked the European architectural community with its impassioned plea for an end to eclecticism and for a “modern” style suited to contemporary needs and ideals, utilizing the nascent constructional technologies and materials. …
In Rio de Janeiro of the 80's, Maria Cecilia, the virgin seventeen years old daughter of the wealthy and powerful Dr. Werneck, is raped by five black men when her car has an engine problem nearby an isolated junkyard. Her upper class family decides that Maria Cecilia needs to get married, and Werneck assigns his manager Peixoto to find a fiancee among the employees of the family's company.