The Sound of Music Live! Spearheaded by NBC chairman Bob Greenblatt , the network positioned the special as being a live television "event". In preparing for the broadcast, Meron and Zadan emphasized the logistical challenges that they would face due to the live aspects of the special, and the fact that The Sound of Music Live! Meron felt that if the telecast were successful, the concept could become "another kind of entertainment that can exist on TV. The production was met with mixed reviews; much of its criticism was directed towards the casting of Carrie Underwood to play Maria, whom critics including the real-life von Trapp family believed was not experienced enough in theatre to portray such an iconic role. While her vocal performance was praised, her acting was described by critics as "amateur", "lifeless" and lacking emotion. The production was a ratings success for NBC; with a total of
All Rights Reserved. The Cast of 'The Sound of Music' tells us their favorite things about fall. The Sound of Music Montage Photo by Matthew Murphy. Jill-Christine Wiley as Maria Rainer.
Today, Columbus no longer exists. In its former building, which now houses five small high schools, a music teacher struggles to fill a single fledgling concert band. Working out of Ms. Between and , New York City closed 69 high schools, most of them large schools with thousands of students, and in their place opened new, smaller schools. Academically, these new schools inarguably serve students better. In , the year before the city began closing Columbus, the school had a graduation rate of 37 percent. In , the five small schools that occupy its former campus had a cumulative graduation rate of 81 percent. But one downside of the new, small schools is that it is much harder for them to offer specialized programs, whether advanced classes, sports teams, or art or music classes, than it was for the large schools that they replaced. In the case of music, a robust program requires a large student body, and the money that comes with it, to offer a sequence of classes that allows students to progress from level to level, ultimately playing in a large ensemble where they will learn a challenging repertoire and get a taste of what it would be like to play in college or professionally.
Last fall a friend told me a story about Ryuichi Sakamoto, the renowned musician and composer who lives in the West Village. Sakamoto, it seems, so likes a particular Japanese restaurant in Murray Hill, and visits it so often, that he finally had to be straight with the chef: He could not bear the music it played for its patrons. The issue was not so much that the music was loud, but that it was thoughtless. Sakamoto suggested that he could take over the job of choosing it, without pay, if only so he could feel more comfortable eating there. The chef agreed, and so Mr.