Word: hockney
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...catalogue essays for the show) calls "an era's bad breath." If Kitaj is not, in fact, the Auden of modern painting, he is quite often discussed as though he were, especially by English critics. Of late, he has also emerged (along with David Hockney and Avigdor Arikha) as one of the few real masters of the art of straight figure drawing in Europe or, for that matter, in the world...
...Artist David Hockney 's sets add a strong British accent...
...sias 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, has done successful productions of The Rake's Progress and The Magic Flute at the Glyndebourne Festival. Here he triumphs when he concentrates on conjuring up a vivid, magical spectacle. When he reaches for social...
...quit the second sex by removing her breasts-really two bright balloons. Meanwhile, her husband (Baritone David Holloway) assumes female dress and godlike fecundity; in a day he/she produces 40,049 offspring. Eventually both resume their original genders and celebrate the need to repopulate the world after war. Among Hockney's wacky touches: solemn wicker baby prams and grave pasteboard infants who pop up from them. Malfitano and Holloway may not have mastered French singing style, but they have strong, well trained voices capable of bringing down the house, Broadway-style...
...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...