Word: de
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Dates: during 1990-1999
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...have thrived largely on the strength of the younger audience: Freak, John Leguizamo's one-man show that had a successful Broadway run last season; I'm Still Here...Damn It!, Sandra Bernhard's monologue-plus-music, which has just opened on Broadway after a hit engagement downtown; and De La Guarda, a performance troupe from Argentina that has become a hot off-Broadway attraction. Joining them are a batch of new plays making a determined effort to attract the long-neglected Gen Xers...
...throngs of young people. Often they do it by breaking genre boundaries, mixing in elements of rock concerts or performance art. Hedwig and the Angry Inch, a hot ticket for months, is the life story of a transsexual rock star, told in the form of an autobiographical nightclub act. De La Guarda's circus-like theater piece, Villa Villa, features performers who swoop and soar on cables above the audience (which stands during the entire 60-min. spectacle). "These shows are reinventing theatrical language," says David Binder, a De La Guarda co-producer, "for an audience that thought the theater...
...Cultural Ambassador of the Sydney, Australia 2000 Olympic Arts Festival. The November 13 performance at Symphony Hall was also a part of BankBoston's annual Celebrity Series. This year also marks the 10th anniversary of the orchestra's 1988 American debut in Carnegie Hall. Led by Dutch conductor Edo de Waart, the orchestra makes its first appearance since then as they tour 11 U.S. cities, performing the music of Beethoven, Richard Strauss and contemporary composer Graeme Koehne...
Most of the opera, however, belonged to soprano Labelle, completely entrancing in the title role of Violetta Valery. After making her debut last year in BLO's Lucia de Lammermoor Labelle was named The Boston Globe 1997 Musician of the Year, and with good reason. Her vocal and stylistic range is almost unfathomable: in the course of roughly 10 minutes at the end of the first act, she goes from airy coquettish high notes to the wistful, delicate "Goodbyes" to the passionate lament of the "misterioso" theme that haunts the entire opera. She pulls off coloratura singing--that ornamented style...
...intended spirit. Conservative in the sense that they played it up-tempo, the Sydney Symphony brought the piece closer to what Beethoven probably had planned and closer in sound to Mozart. Reserved in the sense that the orchestra played No. 2 as a concerto and not as a symphony. De Waart's conducting gestures were never forced, were never angularly abrupt. This added to the fact that the muted vibrations of the orchestra and the sweet mellow tone of the piano actually, at times, cast more silence than resonance. Certainly, it was somewhat harrowing to hear the vast acoustics...