Word: sonnenberg
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Dates: during 1980-1989
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Another DeLay student, the sloe-eyed, Roman-born Nadja Salerno-Sonnenberg, has had a rapid ascent since her 1981 victory in the Naumburg International Violin Competition. Salerno-Sonnenberg, 27, is a mediagenic performer hailed by some for her intensity ("the Edith Piaf of the violin," a colleague has called her) and scorned by others for the eccentric collection of tics, twitches and transports that form her onstage persona. But there is no gainsaying her vivid stage presence, or the enthusiasm with which she imbues her performances. Other noteworthy women violinists include the Kavafian sisters, Ani, 39, and Ida, 35, both...
Anne- Sophie Mutter and Viktoria Mullova head a wave of female performers that also includes Kyung- Wha Chung, Nadja Salerno- Sonnenberg and Midori. They are ebullient and intense, fiery and formidable; when they play, the intoxicating perfume of the theater fills the air. "Music is a form of love, the highest form of love," says Mutter. "It is passion...
...Hell is other people," complains Garcin (David Sonnenberg), the male of the group. And he's right, because in the existential subterranean setting of Sartre the characters simply cannot escape the company of one another. There is just no exit to which they can run. Garcin, Inez (Lyra Barrera) and Estelle (Jacqueline Sloan) are imprisoned together, in a small and tastelessly furnished room, for eternity...
...production by Boston's TheaterWorks group shatters that myth in one enormous carnival of dance, theater, performance/installation art and new wave music. Yet Out Out is not the definitive statement on life in the nuclear age, and only partially does it manage to capture, as design coordinator Craig Sonnenberg wanted it to, "the spirit of the 80s". Out Out is the result of a collaboration by a 10-member "design team" headed by Sonnenberg, and assisted by TheaterWorks artistic directors Vincent Murphy and Tim McDonough. Perhaps it is a myth in the theater circle that in the event...
THERE ARE, first of all some problems of logistics. While set designer Kevin Roach's Scotland is convincingly stark and metallic, too many ramps and staircases reduce the downstage area to the size of a sandbox--no room for conspiracies here, much less natural movement. Craig Sonnenberg's costumes, though effectively timeless, look too much like Bill Blass designs for a Himalayan expedition. The Apollo XI footwear especially renders normal activity difficult...