Word: da
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Dates: during 1970-1979
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...occurred, imitated David, and even put on his clothes. But none of it did any good: Jamie remained the runt of the family, whereas the lost David, in his mother's eyes, would always be tall, handsome, ripe with promise. "When I became a man," Barrie noted sadly, "[Da-vid] was still...
...sparkling tract home in San Diego's east end, rented partly with story-rights money, the twins settle down at the kitchen table after school for a rapid-fire game of clipping magazine pages and scribbling. "Can-I-haf-pen?" Gracie asks a visitor. "Inna gonna write-on da walls," she hastily assures her parents, who are in the living room. The visitor asks if she remembers the old language. "Yes," Ginny replies quickly. "No, you don't!" interrupts Tom Kennedy from the front-room couch. "I don't know why you are lying about that!" Ginny...
Ruggero Raimondi's Don is a middle-aged, thin-lipped, white-faced sadist, a man more easily pictured flogging cats than seducing women. Raimondi fits in well with Losey's class-conscious interpretation of Da Ponte's text--he sees Don Giovanni as the consummate self-indulgent aristocrat. There's nothing wrong with coloring the opera this way, but Raimondi and Losey paint over and obliterate the other half of Don Giovanni's character, the youthful embodiment of unbounded energy who mesmerized the romantics. They do Mozart and Da Ponte an injustice by simplifying the libretto's psychological tangle...
Mozart and Librettist Lorenzo da Ponte created an enormously alluring, vital protagonist who pursues his appetites with cheerful disregard for law or morality. After forcing himself on a noblewoman, Donna Anna, he duels with her father, the Commendatore, and kills him. Then, while the Don busies himself mostly with trying to seduce the peasant girl Zerlina, Donna Anna joins forces with her fiancé Don Ottavio and another of the Don's conquests, Donna Elvira, to hound him through a series of comic entanglements, disguises and escapes. When a statue of the slain Commendatore comes to life and challenges...
...humor in the recital of the Don's conquests by his servant Leporello, with the list stretching down the steps of his house and out into the garden; but José Van Dam's engaging Leporello is scarcely allowed to become the buffo scalawag that Mozart and Da Ponte had in mind. Edda Moser as Donna Anna, Teresa Berganza as Zerlina, Kenneth Riegel as Don Ottavio, all throw themselves into their roles with intensity, but only the exotic Kiri Te Kanawa, as Donna Elvira, manages to shake off some of Losey's heavy seriousness. Missing...