Word: sectioning
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Dates: during 1990-1999
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...quite disturbing to read Susannah R. Mandel's review of the Loeb Mainstage production of Macbeth in your Oct. 24 Arts section. The offensive review was not a critique, but rather an out-right attack on Macbeth's lead actor, Pablo Colapinto '00. I was an audience member on opening night and left the theater having enjoyed a fine production that pulled together amazingly well in the four short weeks since it was cast. Opinion on the specific interpretation, which Mandel calls everything from "bizarre" to "whiny," was indeed ranging, but it would be highly unfair to say that anyone...
...piece, printed directly above it ("Filling The Crimson: Better Judgment Needed in Selecting Wire Stories and Photos.") My compliments to your editorial staff on this profound juxtaposition. Still, given a choice, I think I'd rather see more photos of Paris fashion shows gracing your pages. See you in section...
...calling his voice mail from Japan. Since that happy day, Tokyo numbers have expanded to eight digits, Hong Kong numbers have acquired an extra 2, and the city code for central London has actually tripled in size, gaining first a 7 and then a 1. And the R section in my address book? It's all used...
...a.k.a. the Getty Center, sheathed in light tan aluminum and elegantly rugged honey-colored Italian travertine, nearly 1 million sq. ft. of it at roughly $1,000 per sq. ft., designed by Richard Meier and perched on a 710-acre hilltop above the San Diego Freeway in the Brentwood section of Los Angeles. The Getty is the most expensive arts complex and by some calculations the most expensive building in American history. Large expectations ride on it as both a cultural institution and an emblematic focus for Los Angeles itself. Meanwhile, Frank Gehry's $100 million Guggenheim Museum in Bilbao...
...with complex arpeggios, the piece unfolds into a mass of sound of almost orchestral density. The abrupt pause that followed filled the room with a tremendous resonance. Kissel succeeded in making not only the instrument but the entire room sing with a resonance of unprecedented duration. After a contrasting section in the upper register, compositionally disappointing in Abe's almost banal use of functional harmony, the return to the opening led seamless into an improvisation, a cadenza of sorts, by Kissel herself. Here, at her virtuosic best, an intense web of rhythm and polyphony was created, Kissel all the while...