Word: duet
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Dates: during 1970-1979
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...spectacular dance that accompanies it on stage. But the first "show-stopper" is a medley of three "follies" routines, each performed with geriatric gusto by old time performers Marcie Stringer, Charles Welch, Fifi d'Orsay and Ethel Shutta, who do their numbers separately (the first two as a duet) and then sing them simultaneously as a kind of old timers freak show. On the album the duet ("Rain on the Roof") has been cut entirely. Miss d'Orsay gets about one minute of recording time and Ethel Shutta is left to wail her magnificent "Broadway Baby" all alone and with...
...pianist; in Rockport, Me. Following his graduation' from the Moscow Conservatory in 1912, Luboshutz served as accompanist for such personalities as Gregor Piatigorsky and Isadora Duncan. He also did scores for Stanislavsky productions including Peer Gynt. Luboshutz first came to the U.S. in 1928 and began performing piano duet concerts in 1937 with his wife, Genia Nemenoff. For 30 years they toured the world, winning critical praise and popular success with their subtle interpretations of Mendelssohn, Mozart and Brahms...
...frequent good intentions, are unable to live up to their promises to blacks. "We have made the gesture, but we have not accepted blacks emotionally," Menotti explains. Musically, The Most Important Man is blatantly eclectic. Strains of Richard Strauss float from the pit during one interlude. By the final duet between Toime and his white girl friend Cora (Soprano Joanna Bruno), Menotti is unashamedly into the heart-throbbing lyricism of Puccini. Much less original than his 1950 Broadway success The Consul, or even his recent and endearing children's opera Help! Help! The Globolinks, the new opera hardly represents...
...arouse "dangerous emotions," and then refusing to purge them. In perhaps overemphasizing Sontag's aesthetics I've neglected to mention how extremely disquieting the film is emotionally, with respect to familiar personal relationships. I'm speaking of monogamy-humanist love-which is crumbling these days anyway, whose foundations Duet for Cannibals digs up mercilessly to expose. Anti-humanism seems somehow progressive, but I'm politically distrustful of this kind of manipulation, which is almost an unconscious, emotional dialectic, primarily destructive (even if it may ultimately be liberating). Sontag goes far beyond women's politics to strike at the outmoded basis...
...present state of outmoded emotional and intellectual consciousness (and not in some futuristic state when we may actually be interested in Robbe-Grillet's descriptions of objects), in order to take us in, to wreck that corrupt humanist tranquillity in which we once thought we existed. If Duet for Cannibals were pushing a Marxist line, an ideological "content," by equally subversive means, we could call it insidious propaganda, pure Stalinist instrumentation of policy formulated in isolation from the masses. But it doesn't push any "meaning" whatsoever, and hardly allows the reflection time necessary for didactic assimilation. Mainly...