Word: ges
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...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, noted for his sophisticated, figurative paintings...
...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...
What's this? Big Bird doing Firebird, or perhaps Swan Lake? No, nothing that featherbrained. But Choreographer George Balanchine, 76, is planning to cast Muppets in a production of L'Enfant et les Sortilèges to be seen on public television next spring. Muppet Designer Kermit Love, who is creating the dancing puppets, invited the choreographer to the Sesame Street set to watch Muppetry in action...
...Union launched a ferocious propaganda campaign against the NATO missile proposals. Soviet President Leonid Brezhnev declared that the Soviet Union would not "watch indifferently the efforts of the NATO militarists," but would be ready to "take the necessary extra steps to strengthen our security." In a loudly proclaimed peace ges-ture-a carrot to accompany the stick -the Soviets last month announced the withdrawal of some obsolescent tank divisions from East Germany...
...said) that great tourist attraction of Southern Italy, the plaster molds of dead Pompeians. Now and again, Segal made an identifiable portrait; the show includes the effigies of those New York Pompeians of the '60s, the collectors Robert and Ethel Scull, she complete with sunglasses and Courrèges boots. But as a rule, Segal's figures are not identifiable. They are generalized, spectral presences, muffled in the folds of calcified gauze, their skin roughened with residual abstract-expressionist drips and clots. It hardly matters that the stooped Gerontion in Segal's Hot Dog Stand...