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CLASSICAL: Faith Esham, soprano; music of Poulenc, Brahms and Copland; Kresge Auditorium; Sunday...

Author: NO WRITER ATTRIBUTED | Title: m.i.t. | 11/12/1981 | See Source »

...Electrical parts manufacturer Compagnie Generale d'Electricite; chemical firms Rhone-Poulenc and Pechiney Ugine Kuhlmann; conglomerate Saint-Gobain-Pont-a-Mousson; and electronics giant Thomson-CSF. To be covered in a separate bill...

Author: /time Magazine | Title: France: He Really Meant It | 10/5/1981 | See Source »

...Choreographer Kenneth MacMillan, 51. On this trip the Royal brought three works new to U.S. audiences: Ashton's Rhapsody, a glittering display originally created for Mikhail Baryshnikov; MacMillan's Gloria, a dark ode to the generation killed in the Great War, set to the bright strains of Poulenc; and Isadora, also by MacMillan, a tasteless, breast-baring melodrama about Modern Dance Pioneer Isadora Duncan, with a pastiche score by Richard Rodney Bennett. In addition, the Royal performed, for the first time in New York City, MacMillan's La Fin du Jour, a febrile evocation of the vanished...

Author: /time Magazine | Title: Dance: Glitter | 7/13/1981 | See Source »

There were plenty of hints, but no real answer, as the Met staged its first new 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...

Author: /time Magazine | Title: Music: A Vivid Gallic Trio at the Met | 3/2/1981 | See Source »

...Mamelles fares better. The barbed wire is pushed off into a corner, and the sets are Dufy-bright and lively. The story, a gutsy farce that Poulenc took from a drama by Apollinaire, concerns a fed-up woman named Thérèse (Soprano Catherine Malfitano) who decides to 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...

Author: /time Magazine | Title: Music: A Vivid Gallic Trio at the Met | 3/2/1981 | See Source »

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