Word: apollonians
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Three of the star acts illustrate the show's underlying theme: family. Twin sisters Sarah and Karyne Steben -- Sharon Stone in duplicate on the high bar -- perform their mirror-image calisthenics in a space as intimate as the womb. The brothers Marco and Paulo Lorador bend their Apollonian physiques to some wondrous heavy lifting. And the Tchelnokovs (Nikolai, his wife Galina Karableva and their impossibly lithe son Anton, 7) describe patterns of living sculpture that are less physical than mystical. In the harmonious flow of their fearless feats, these performers might be parents and siblings from another, ideal world, where...
...habit to speak of Matisse's "assurance," his Apollonian, almost inhuman, balance. Yet this simple idea does not survive the evidence of this show. The deeper one looks, the more doubt and qualification one finds. It was far from Matisse's mind to impose an artificial certainty on the flux of vision. The resolution of his great 1914 still life, Goldfish and Palette, is provisional; on either side of the black central column things teeter and lean; even the curlicues of the black iron balcony seem held in a fragile equilibrium...
...late Lee Krasner. You could never claim that she has Krasner's emotional range as a painter: pessimism, anger, every abrasive emotion are caught in some inner filter before they can reach Frankenthaler's canvases and muddy their obstinately sustained lyricism. She keeps up the mood of Apollonian pleasure so well that one may think of Edmund Wilson's satire The Omelet of A. MacLeish, whose hero's well-made tropes "gleamed in the void, and evoked approbation and wonder/ That a poet need not be a madman, or even a bounder...
They laughed when Andres Segovia sat down to play the guitar. The nerve of the ( man, bringing a flamenco instrument into the hallowed precincts of the concert hall. "That stupid young fellow is making useless efforts to change the guitar -- with its mysterious, Dionysiac nature -- into an Apollonian instrument," wrote one skeptic after Segovia's 1910 debut in Madrid. "The guitar responds to the passionate exaltation of Andalusian folklore, but not to the precision, order and structure of classical music...
...much strenuous ado about nothing, it was energetically performed by the Philadelphians and Soloist Gregory Fulkerson. Finally, Dvorak's undeservedly neglected Fifth Symphony received a taut performance that, among other virtues, was notable for the breathtaking precision of the strings. Two days later in Philadelphia, Muti took an Apollonian view of Berlioz's sprawling "dramatic symphony," Romeo et Juliette, featuring Soprano Jessye Norman and Bass-Baritone Simon Estes. For all its splendor, however, the performance could have used more intensity and less Gallic detachment...