Word: aplomb
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Dates: during 1990-1999
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...Madeleine, and Spyros Poulios, as Fergus. The two leads seemed to push along the absurdist plot with energy. Poulios's intriguing accent and slurring, as well as his convincing passion were marvelously sustained throughout the work. His blocking and gesturing captured the simultaneously introverted and erotic Fergus with aplomb. Although sometimes dwarfed by Poulios's emotion and improvisation, Sullivan put together a convincing dramatic collage of her own as the tough and straight-talking Madeleine, a Madeleine that is intellectually, though not emotionally, in touch with Fergus's elan. Yet despite her strong interpretation of the theme, a weakness arose...
...Major. Fleisher digs into the dark, angst- ridden work, plumbing its depths with the unimpaired musical intelligence that has always marked his playing. (Would that his accompanists, Seiji Ozawa and the Boston Symphony, were on the same wavelength.) He sprints through Prokofiev's steely Concerto No. 4 with aplomb and turns in a glittering performance of Britten's infrequently heard but urbane and witty Diversions for Piano and Orchestra...
...podium, Salonen projects an aura of crisp, businesslike authority. There is none of Mehta's grandstanding glamour; instead, the conductor he most resembles is his hero Pierre Boulez, guiding his players through the most intricate rhythms with unflappable aplomb. In 1985 Salonen signed an exclusive contract with CBS, now Sony Classical, and since then has issued a steady stream of albums (the best so far: Messiaen's formidable Turangalila-Symphonie and Grieg's Peer Gynt music). Already he is one of the few living maestros who can sell the standard repertoire on the strength of his name alone...
Lars Mellander (Ali), Dorothy Morris (Elvira), and Janine Wanee (Zulma) turn in performance of technical aplomb but little else. Mellander's inexpressive mime doesn't go beyond the essentials. Morris's Elvira is appropriately pitiful, but comes across more contentious than helpless, more an evil shrew than a hapless victim of a inane husband's scorn. And Wanee's Zulma, although not a major part, fades too easily into inconsequence...
Jonathan Weinber handles his role as the police captain with droll aplomb. As a portrait of savagery, the captain delightedly lectures on execution and demonstrates on a dog Selig displays appropriate confusion and horror at such antics...