单选题
Anniversaries are the opium of museums, publishers,
theaters and opera houses. Fixing their eyes on some round-number birth or death
date of a major creator, they start planning to cash in years before. For 2006,
birthdays are the winning numbers: Rembrandt's 400th; Mozart's 250th; and the
100th for Samuel Beckett and Dmitri Shostakovich. The Dutch
have organized a score of Rembrandt shows, starting appropriately with an
exhibition based around his mother in the town of his birth, Leiden. Mozart's
music will be heard more than usual in churches, concert halls and opera houses
around the world, with his birthplace, Salzburg, once again trying to compensate
for the indifference it showed him during his lifetime. But do
such anniversaries and accompanying celebrations serve much purpose? Are they
just marketing devices to sell tickets to museums and performances? Or do they
help draw the attention of younger generations to the giants of Western culture
who at times seem crowded out by the pygmies of popular culture?
As it happens, the practice is not new. The birth of Bardolatry, or
Shakespeare worship, is generally traced to the Shakespeare Jubilee, which was
organized by the actor-manager David Garrick to celebrate the 200th anniversary
of the playwright's birth (the jubilee was actually held in 1769, five years
after the anniversary, but presumably time was more flexible in those
days). Until then, perhaps surprisingly, Shakespeare was not
doing too well. The popularity of many of his plays did not survive the
18-year-long closure of London's theaters during the Civil War and Cromwell's
rule. Then, after theaters reopened in 1660 with the Restoration of the
monarchy, several of his major works—"Richard Ⅲ" and "King Lear" among them—were
drastically revised by other playwrights. Today, Mozart, for
one, is hardly in need of revival. No opera house plans a season these days
without including at least one of his stage masterpieces: "Le Nozze di Figaro,"
"Don Giovanni," "Così fan tutte" and "Die
单选题
It can be inferred from the passage that ______.
A. Mozart's music used to be only played in church
B. Mozart's music has always been welcomed by people