Word: enfante
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...while Godard and his aging enfant terrible cohorts continued their explorations of the bleak and the beleagured, Truffaut continued to see the world placidly, some would say naively, not as an elaborate inhuman maze, but as a series of small victories and small defeats. At this year's New York Film Festival, Godard gave the world his Every Man for Himself, and not very many wanted it. Truffaut gave them The Last Metro, complete with Cartherine Deneuve and Gerald Depardieu, and everyone sighed. In France The Last Metro has been lavishly garnished with awards and is a huge financial success...
...production of a season shortened by labor disputes. It was a trio of French works, with the umbrella title of Parade. The idea of presenting Satie's slight ballet Parade, Poulenc's absurdist opera buffa Les Mamelles de Tirésias and Ravel's L'Enfant et les Sortilèges came from Met Production Adviser John Dexter. The common theme was not World War I (though with effort all the pieces can be connected to it) but the devices of British Artist David Hockney, 43, who presided over the visual aspects of the show. Hockney...
...masterpiece on this bill, an exquisitely orchestrated work full of both lyricism and humor, is L 'Enfant et les Sortilèges (literally The Child and the Sorceries). Colette wrote the libretto, a serenely wise fantasy about a child's guilt after a temper tantrum. When L'Enfant was first produced in 1925, George Balanchine, then 21, provided the incidental choreography. But noble lineage does not burden this opera in the way that it does Satie's Parade, probably because it offers ample possibilities for different interpretations. The little boy (played by Mezzo-Soprano Hilda Harris...
...victims promptly rise up to rebuke and terrify him. Dexter has taken a sunny approach to this nightmare. Harassed frogs are still genial; abused cats take a philosophical view. In L'Enfant Hockney creates his richest, most brilliant sets and French Conductor Manuel Rosenthal coaxes the most subtle performance from the Met orchestra. It has been said that the Ravel work is such a perfect distillation of orchestral and vocal art that it resists dramatization, that no physical embodiment of it is possible. Perhaps.Yet the Met does justice to the masterpiece with an approach that is both witty...
Absinthe is the catalyst. It turns Verlaine (David Markay) violent and makes Rimbaud (Nicky Silver) into a satanic enfant terrible. Transforming his mentor into his slave, Rimbaud pries Verlaine loose from his wife and son. The rest of their tempestuous saga is fairly accurately chronicled in the production at off-Broadway's La Mama Theater. The play is flawed, but it is amazing that British Playwright Hampton (The Philanthropist) wrote it when he was only 18. He was obviously drawn to Rimbaud as a fin-de-sicle spiv, and Silver plays him that way. Markay's Verlaine...