Word: berges
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...Pierre Bergé, partner and protector of Yves Saint Laurent, peeks over the battlements at the enemy force below and, as if panicking, fires off a salvo before he has found his aim. "Give me one piece of clothing, one fashion statement that Armani has made that has truly influenced the world...
...Zimmermann's sprawling, eclectic but ultimately unsuccessful serialist opera Die Soldaten (The Soldiers). First performed in Cologne in 1965, the work was given its American premiere last week by Sarah Caldwell's Opera Company of Boston. With it, an experimental tradition begun by Schoenberg, continued by Alban Berg and refined by avant-gardists of Germany's Darmstadt school of composers in the 1950s comes to a dead end. In fact, that tradition expires in a spectacular artistic auto-da-fé symbolized by the holocaust that is the opera's final scene...
...libretto, drawn from Jakob Michael Lenz's 1776 play, concerns the seduction and degradation of a middle-class girl, Marie, by a group of soldiers, among others. The opera's connections with Berg's Wozzeck and Lulu are obvious. Wozzeck too is about soldiers and their sordid love lives and has a heroine named Marie; like Die Soldaten, it is constructed in 15 self-contained, even aphoristic, scenes. Lulu-like Die Soldaten, a twelve-tone opera-similarly features a heroine who ends up a common prostitute. Zimmermann deliberately invoked the shade of his illustrious predecessor; the challenge...
...spite of a well-deserved reputation for temperamental perfectionism that has given headaches to many a colleague and caused her to cancel a number of important engagements. Blessed with a large voice that easily spans three octaves, Stratas was selected to sing the title role in Alban Berg's thorny twelve-tone shocker Lulu, when the complete opera-with its suppressed third act orchestrated by Friedrich Cerha-was given its world premiere in Paris in 1979. The late conductor Karl Böhm, mindful of Stratas' electric stage presence and lithe figure, chose her for his filmed version...
...usually portrayed. She sings the famous Habanera while engaging in some erotic byplay with a cigar, thrusting it into Don José's mouth at the words "L'amour, I 'amour. " In its total bleakness this is Carmen seen by a man familiar with Alban Berg's operas Wozzeck and Lulu, twin 20th century masterpieces of love, alienation and despair. The production also reflects Brook's distaste for conventional Bizet, which goes back to the time, 30 years ago, when he was production chief at London's Royal Opera House. "I looked with horror...