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Their life together meets a fateful disruption when they arrive in Rome and join up with a tent circus group at the edge of town. Here Gelsomina meets "The Fool" (Richard Basehart), player of the world's smallest violin. The Fool has a gentle poetic nature, and falls for Gelsomina immediately. She is so shocked that someone is being kind to her that she walks into the doorpost. But The Fool and Zampano have an old rivalry that will not die. Gelsomina blindly loves Zampano. However, she also loves The Fool. How this triangle finally resolves itself and what happens...

Author: By Irit Kleiman, | Title: Fine Fellini Flick | 10/21/1993 | See Source »

...audience, it was clear that Saturday night's concert at Sanders Theatre was more an "event" than a chamber music concert. This atmosphere was only reinforced by the nature of the programming. The violinist Stephanie Chase was slated to play in each work, first Bartok's First Sonata for Violin and Piano, then the Brahms Horn Trio, and finally the Beethoven Septet. While programming for a single performer might be acceptable even in a chamber music concert, the flagrant insertion of Bartok's Sonata into a menu of otherwise standard (and somewhat related) fare, seemed justified only by the appeal...

Author: By Bernadette A. Meyler, | Title: Not Even A Twist Or Turn | 10/21/1993 | See Source »

Bartok's First Violin Sonata, while heavily influenced by the atonality of Schoenberg, abounds with injunctions of "espressivo" and "appasionato". A listener not aware of this might have thought from Chase's performance that Bartok, desiring some special effect, had ordered the violinist to play dispassionately, and vibrato only selectively if at all. While the first movement is supposed to be tense in character, the rigidity manifest in Chase did not seem quite appropriate. Her sound was frequently forced, and what at first seemed like a special effect--the fact that her vibrato began only after half of each note...

Author: By Bernadette A. Meyler, | Title: Not Even A Twist Or Turn | 10/21/1993 | See Source »

Though the lyrical opening of the second movement was plagued problems similar to those of the first movement, the pianist, Mihae Lee, heretofore invisible in following Chase, effectively initiated and propelled the exchange between violin and piano as the movement climaxes; this instance of rhythmic alternation, the piano asserting one chord and the violin rebutting with another...

Author: By Bernadette A. Meyler, | Title: Not Even A Twist Or Turn | 10/21/1993 | See Source »

Junior uses anxious violin chords to underline the confessions of an alienated couch potato who sees "the world through the TV Guide" and muses, "I know I'm missin' something/ But I don't know what it is." Case 795 (The Family) is an unflinching view of a domestic squabble that ends with the wife "bleeding on the floor in the kitchen/ With cake on her fingers...

Author: /time Magazine | Title: Heart of Darkness | 10/18/1993 | See Source »

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