Word: pianist
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Dates: during 2000-2009
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...Although all 20 movements of “Vingt Regards” are rarely played together at one time, famous pianist Peter Serkin once performed the complete work 25 times on a tour in 1974-5 after four years of intensive study. By contrast, Taylor knew only a few of the 20 “Regards” a year before his concert and was still memorizing weeks before...
...PIANIST. Adrien Brody’s magnetic, largely silent performance in Roman Polanski’s Holocaust drama almost compensates for The Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction...
...Best Picture category, Chicago and The Hours are locks for nominations, but bunched behind them are a slew of films jockeying for the final three slots; of this group, The Pianist, The Lord of the Rings: The Two Towers and Gangs of New York are most likely to snag the nods. Still, don’t discount the chances of Adaptation, My Big Fat Greek Wedding, About Schmidt and Road to Perdition...
When Libeskind began studying architecture at Cooper Union in New York City, he was just 19 years old, but it already represented a career change for him. For years as a teenager he had been a concert pianist and--why not?--an accordionist. He says merely that his interests shifted. All the same, he found time last year to design and direct Messiaen's opera St. Francis of Assisi at Berlin's Deutsche Oper, and he is working on sets for a full cycle of Wagner's Ring at London's Covent Garden. But Libeskind rarely touches the piano anymore...
...PIANIST. Adrien Brody’s magnetic, largely silent performance in Roman Polanski’s Holocaust drama almost compensates for The Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction...