Word: renata
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...generally conceded that an audience forced to watch a movie through the eyes of its main character begins to identify with that character, a point which for my money Bogdanovich disproves. Renata Adler wrote a depressing column suggesting that the audience, looking through the sniper's gunsight, wants him to hit his victims--just as the audience wants that car to sink into the swamp in Psycho although its disappearance serves only to protect nasty old Mrs. Bates. Nuts! An audience made complicit in wholesale slaughter by virtue of POV shots resists with all its might, particularly when they have...
...tradition holds that opera is not worth listening to unless conductor, orchestra, text, music and singers all work together to produce one whole art. Italians, on the other hand, are partial to individualistic vocalism that is sensually beautiful as well as expressive. This record leans toward the Italian style. Renata Tebaldi, Robert Merrill, Marilyn Home and Carlo Bergonzi are all equipped with voluptuous voices singing this perennial "singers' opera," complete with massive arias and roof-hitting dramatics. Tebaldi, the star of them all, has compensated for the loss of the famous velvet in her voice by inserting pulsating hysteria...
...rewards is that I can still be enthusiastic about movies after all these years," he says. But he would prefer to escape the daily grind and write about films and film makers at a more leisurely pace. Starting Jan. 1, 1968, when New Yorker Writer Renata Adler, 29, replaces him, he will do just that...
...replacement has never been a regular reviewer. A Bryn Mawr graduate who went on to study comparative literature at Harvard and spent a year at the Sorbonne under the tutelage of Anthropologist Claude Lévi-Strauss, Renata Adler has written wryly and perceptively on a variety of subjects in her five years with The New Yorker: literary critics, group therapy, civil rights marchers, and New Leftists. But fertile as she has been in ideas, she felt she was running out of them, and so looks forward to the rigors of daily criticism. Her taste in movies is eclective...
...Romeo and Juliet story that owes little to Shakespeare, Capuleti, with Bellini's intimate scale, pervading sweetness and utter predictability, is a distinct contrast to Verdi's powerful, primitive themes and vaulting imagination. But the company -notably the two leads, Tenor Giacomo Aragall and Soprano Renata Scotto-traded the flawed gusto of its Trovatore and Nabucco performances for restraint and quiet artistry, making Capuleti the only production of the week to come off with cohesiveness and unity of effect...