Word: toreador
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...Daiquiri Doug Sanders. None of them, though, ever had Trevino's mix of fun and finesse?or his earthy, egalitarian appeal. A country-club Cantinflas, he will stick his tongue out at an errant shot, coax in a putt with a burlesque-queen bump or break into an impromptu toreador waltz with an attacking bee. Lee's Fleas delight in his wisecracks (Flea: "Nice shot!" Lee: "What did you expect from the U.S. Open champion?ground balls?"). They love his catch phrases ("Black is beautiful, but brown is cute") and his apologies for cussing ("Excuse me, lady, I thought...
Dissonant Morass. Not everybody liked it-and with reason. As one expects of Cranko, the ballet had dramatic cohesiveness. Settings, cleverly suggestive of Goya, managed to be both beautiful and forbidding at the same time. In Marcia Haydée (Carmen), Richard Cragun (the Toreador) and Egon Madsen (Don José), Cranko could field a trio whose ability to project feeling into narrative ballet can hardly be matched. What went wrong was the music. Scorning Bizet, Cranko got German Composer Wolfgang Fortner to produce a dreadful, cacophonous "Bizet collage" incapable of sustaining any nuance of emotion. Worse, the score picked...
...presidential palace in a Caribbean republic in the early 1930s. His emphasis is on death, ritual and the family. The family is presented as a verbal killing ground where people prepare for real death. The ritual of death itself is a coup de theatre, a mock bullfight complete with toreador costumes in which the killers and the killed are all humans. The conceit works in that both Greek tragedy and the bullfight derive their heightened drama from an imminent awareness of death...
SHCHEDRIN: THE CARMEN BALLET (Melo-diya/Angel). Rodion Shchedrin, 35, the current Establishment favorite of Russia's younger generation of composers, wrote this ballet for his beautiful wife Maya Plisetskaya, the Bolshoi Ballet's prima ballerina. Hearing the Toreador Song and the Changing of the Guard freely arranged for strings and 47 percussion instruments is pleasant for the first time, but no more. Shchedrin mistakes brashness for cleverness so often that familiarity with his work breeds boredom...
...weight of her low register in the Tarot Scene was miraculous, and the delicacy of her flirtation dance before Jose no less so. Her characterization omitted no details, from the Third Act baiting of Jose to the seductively hoarse suggestion of "L'amour" at the end of the Toreador Song...