Word: lã
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...roqueros gather to get high and watch rock videos on makeshift outdoor screens. On the Malecn in front of a gas station, a band called Aria thrashes out garage rock for a small crowd outside while upstairs at the Jazz Caf a saxophone player named Csar L??pez heats up the stage with squealing Ornette Coleman riffs. More ominous to the salseros is the Riviera, Meyer Lansky's citadel to Vegas chic in Havana. The Cuban-music venue inside is shuttered, but in the front bar, there's house music mmph-ing loudly, and there's a line...
...from “Manon Lescaut” and “Eugene Onegin” to “Carmen” and “Tosca.” But its tradition dates back to the early 17th century, when Francesco Cavalli composed “L??Ormindo,” one of the earliest operas still surviving today. “L??Ormindo”—presented last weekend at the New College Theatre by the Harvard Early Music Society—was first performed in Venice...
...Curtain calls and cats.” In Étienne’s world, real life blends seamlessly with the stage; there’s no differentiation between art and life.Despite losing certain nuances in translation (the French title of the first section, “La mer l??amour,” is a lot less clunky than “Ocean/Emotion”), Étienne’s complex world is still effectively communicated. (Thankfully, the French text is offered alongside the English.) And yet there’s something...
...such as these.” Hargis spoke about Baroque performance practices in opera, and concentrated specifically on the physical gestures used in that period, working with cast members from the Harvard Early Music Society’s presentation of Francesco Cavalli’s opera “L??Ormindo.”Hargis compared Baroque music and its practice to Baroque art, stating that she often finds inspiration for her characters by looking at art from the period. She showed photographs of sculptures by Bernini, as well as paintings by Rubens and Watteau, pointing...
Perhaps this is why the idea of Dalton—what she represents, as opposed to who she was—feels so relatable. There is something in her languorous pronunciation of consonants—L??s and R’s morph into disyllabic sounds—that draws nebulous, martyrizing declarations out of those who knew her well and those who didn’t. “There was no fire behind her,” bass player and producer Harvey Brooks told NPR in reference to her attempts at studio recording...