Word: troppo
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ALLEGRO NON TROPPO Directed by Bruno Bozzetto Screenplay by Bruno Bozzetto, Guide Manuli and Maurizio Nichetti...
Like many of Muriel Spark's best characters, however, Maggie keeps busy being clever. She complains that the "tempo" of her husband's lovemaking is all wrong: "He starts off adagio, adagio. Second phase, well, you might call it al legro ma non troppo and pretty nervy . . ." When she is offstage, Hubert the poseur can usually be counted on for verbal sprightliness. "What is opulence," he asks in his best Oscar Wilde manner, "but a semblance of opulence...
However, the worst offender of the night was neither Starker nor the HRO, but a Sanders Theater radiator which released a cacophonous blast of steam during the contemplative, yet simple adagio ma non troppo of the Dvorak. As the heating unit entered the final stage of its five-minute protest, Starker remarked, "Seldom have I been so rudely interrupted. Perhaps this indicates that Harvard needs a concert hall." That conclusion is indisputable, in light of the radiator interruption and the police sirens and car horns which consistently violated passages played at or below the mezzo-piano level...
...pathetic tale of no particular significance. However, it is told with care and tenderness in this Italian film adapted from a novel by Vasco Pratolini. The pace is lento, sometimes troppo lento, but the color photography tactfully subtends the mood of green and yellow melancholy, and Director Valeric Zurlini develops a very real and moving relationship between the hero (Jacques Perrin) and his older brother (Marcello Mastroianni). It is fascinating to watch Mastroianni, who in his recent films (La Dolce Vita, La Notte, 8½) has emerged as the Clark Gable of existentialism, play a simple, decent human being...
...little sonata has two movements, both allegro, preceded by four measures of 'adagio cantabile.' The harmonies and motives of these four measures contain the thematic material of the following two movements in embryonic form. Hellman saw to it that those materials flowered. Judging Beethoven's instruction, 'Allegro ma non troppo' aright, he chose a properly delberate tempo, then, at the appropriate spots, took liberties with it. In the second movement, he went beyond the bounds of loud and soft which had dulled the Bach, and nicely exploited the drama of (i.e., hammed up) the ending...