Word: allegros
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...ALLEGRO NON TROPPO Directed by Bruno Bozzetto Screenplay by Bruno Bozzetto, Guide Manuli and Maurizio Nichetti...
...demanding. Says Giannini: "We must have embraced each other 600 times." · Most dancers do their plies at the bar, but one of the New York City Ballet's principal dancers also practices hers in the pool. In the Water Beauty Book (St. Martin's Press; $10), Allegro Kent, 39, demonstrates how she keeps in shape with aquatic acrobatics, using plastic water wings. "I try to undulate like a sea anemone with them," she says. "When I wear them, I feel that I'm in a different world. It's kind of like floating around...
...concerto's first movement Allegro signalled some of the unusual, if dubious instrumentation which Gershwin wrote into the work. Elegant piano flurries, which Melnyk delivered with consummate clearness and excitement, seemed more than once gratuitously marred by chopping sounds from the tympani. But Gershwin's orchestration is extolled as clever or charming by many; there's no point in carping about something which many people inveterately enjoy. The performance of such unusual sections and of the rest of the piece was usually quite exciting, due in large part to the pianist's resounding and sensitive execution. The orchestra was particularly...
...feeling in the last two movements. Melnyk's acutely sensitive solo passages were matched by the orchestra's dramatic surges, held together by Yannatos. Shifting smoothly from soft piano stretches to rousing tuttis, the orchestra and soloist cooperated perfectly to make the sudden contrasts quite striking. Similarly, the concluding Allegro agitato was quick and smooth, all the more effective because of the nice transitions from piano to ensemble. Melnyk's and the orchestra's playing were especially forceful and resolute right from the beginning. Indeed, if at any time during the evening there was particularly an air of relentless fine...
...first two movements were the most successful; the Scherzo proved extremely demanding for the strings. The triumphant fourth-movement Allegro needed, quantitatively, more than the single doublebass present, and qualitatively, a fuller and richer brass sound, especially from the trombones. Nevertheless, the concert in its totality was impressive and gratifying. Under the right conditions, there's no reason HRO can't be a consistently fine orchestra, and the group sounds as if it is well on the right track right...