#William Davide Brio
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"Armor up", performing Sr, Mumbai 2023.
“You cannot change what you are, only what you do.”
― Philip Pullman, The Golden Compass
"VENUE VICTORIUS", Portfolio 2023.
©All rights reserved. Using these images without permission is in violation of international copyright laws
#williamdavidebrio#william davide brio#william#brio#wdb#portrait#davide#photography#photocracy#man#indian men#bombay#mumbai#trainer#doppelganger#doppelgaenger#nude on sofa#body#bodyscape
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'Call it How Neil Patrick Harris Met Your Favorite British Time Travel Show.
Doctor Who showrunner Russell T Davies tells EW that the American actor was completely unfamiliar with the beloved science fiction series when the executive producer approached Harris about playing a villain called The Toymaker on this Saturday's final 60th anniversary special episode, "The Giggle."
"He’d never heard of it in his life, bless him," Davies says with a laugh. "I was lucky enough to work with the great man on a show called It’s a Sin, about the AIDS crisis in the 1980s, and working with him was such a joy. The Toymaker, he's kind of the god of games, so he shuffles cards, he does magic tricks, and all of that fits Neil Patrick Harris. If you go through agents, they often tell you to go away. I was able to send just a text saying, 'Do you fancy reading this?' He read it and literally phoned me up going, 'Let me get this right, so the Doctor’s an alien, right?' I was like, 'Oh my god, you really have never heard of Doctor Who!' But he couldn’t resist it, and he came to Cardiff, and we had the most spectacular time."
The Toymaker first appeared on the show back in the '60s, when the character was portrayed by Michael Gough and the Doctor was played by William Hartnell. This time around, Harris' villain will face off against David Tennant and Catherine Tate, who are reprising their respective roles of the Doctor and Donna Noble for the three anniversary episodes after many years away from the show. Davies explains that, "it's very hard to find the villain who can match David Tennant and Catherine Tate. To have a character who can be in danger of defeating those two is very hard to find. Sometimes on Doctor Who, you need armies of a thousand robots who could do that. This is just one person, so casting them was absolutely crucial and this becomes a pivotal event in the Doctor’s life. We needed that man, and, god, we had a glorious time. It’s so lovely working with Neil. When I text him now, [we ask], what’s our third project together? We’ve got to keep going!"
Tennant agrees that Davies made the right choice in casting Harris as the episode's villain.
"Oh, he’s good," the actor says. "I don’t quite know if he knew what to expect, but he dived in with such gusto and brio. This part requires a lot of skill sets and Neil turns up with them all. I don’t want to give away too much about what might be required of the Toymaker, but you need a sort of an all-round entertainer to play that part and a very good actor, so there aren’t a lot of people who could have ticked all the boxes required. We were really excited when Neil said 'yes,' and actually it’s impossible to imagine who else it might have been. He’s a sort of theater animal, so he’s got that bit of graft about him that my Scottish Presbyterian soul rather enjoys being around. And he’s got a twinkle in his eye, which is sort of the combination of elements that you need for Doctor Who, I think."'
#Neil Patrick Harris#The Toymaker#It's A Sin#Russell T. Davies#David Tennant#Catherine Tate#The Giggle#Donna Noble#Michael Gough#William Hartnell#Doctor Who#60th Anniversary
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'VIEWS FROM THE EDGE' - w/c 18th December 2023
The Tibbs ‘Ain’t It Funny’
Jennifer Lopez ‘Ain’t It Funny’
Robin Williams ‘Adrian Cronauer (Pt. 1)’ / Martha & the Vandellas ‘Nowhere To Run’ from Good Morning Vietnam OST
Imagine Dragons ‘Younger’
Black ‘Wonderful Life’
Tony Allen & The Afro Messengers ‘No Discrimination’
Vienna Symphony Orchestra / Ludwig van Beethoven ‘Beethoven Fifth Symphony No. 5 In C Minor Op. 67, I. Allegro Con Brio’
Splintered Halo ‘Hansel & Gretel’
Maria Callas / Giuseppe Verdi ‘Aida, Act 1 Celeste Aida (Radamès)’
Healthy Junkies ‘Resistance’
Oovermatic ft Lulu ‘Clouds With Sunshine’
Faysha ‘Dreaming On Clouds’
Arab Strap ‘Dream Sequence’
Dream Wife ‘Social Lubrication’
Mango In Euphoria ‘Can’t Be Cured’
The Cure ‘Lovesong’
L Perry ‘Never Felt Like This B4 (Delwyn Brooks remix)’
Boris Diugosch feat. Roisin ‘Never Enough’
Erin Bennett ‘Never Give Up The Fight’
Trading Voices ‘Never Coming Down’
Neocracy ‘Torment’
Neocracy ‘Respect’
David Ackles ‘Another Friday Night’
Pink Floyd ‘Breast Milky / Mother Fore’
Eric Troff ‘The Bright Christmas Lights’
Robert Quigley ‘Nothing Beats The Christmas Feeling’
Stephen Chivers ‘A Cold Christmas Eve’
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Tag
Tagged por la única e iniguable @lucia-lu87
name/nickname: Paloma, Palo, Palomi, Palito
pronouns: she/her/ella
star sign: virgo my ass
height: 5'4 (1.63 for the rest of the world)
time: is a lie
birthday: august 29
favorite bands: i hate this questions, i listen to so many shit. blackpink, definitely. foals. 'corazones' era los prisioneros. wisin y yandel. loona. tears for fears. linkin park. shrug emoji.
favorite solo artists: roosevelt -according to my spotify account who keeps track of my lies and ridiculous listening habits-, childish gambino maybe? uuh defo robbie williams? DADDY YANKEE? björk? shakira? bad bunny? see: crazy.
song stuck in my head: jealousy, jealousy by olivia rodrigo. cause now i have 15 yrs old, detoxing from ig and whatsapp.
last show: LA REINA DEL FLOW 2 i love my telenovelas. oh 'graceland', i won't live without manny's face on my screen. aaand 'luis miguel: la serie', can't exist without a diva throwing the money they make with my netflix subscription to my face.
last movie: i haven't watched a movie in a long time so i think it was 'tengo miedo torero' last year (ik ik it can't be but i don't remember finishing anything).
when did I create this blog: probably 2010, during the 'community' and eleven in 'doctor who' era.
what do I post: once upon a time i used make edits (that went out of style) and gifs. now i'm good reblogging the amazing things that people do.
last thing I googled: 'erick cruz montoya' haha a character in la reina del flow, maybe i'm going to write a brio au loosely based on it?
other blogs: well yes but i don't use any of them now, all collecting dust.
why I chose my URL: story time: in community's halloween episode of s2 jeff -dressed as david beckham- mocked britta's t-rex costume saying 'dragon turtle?'. it never, ever leave me (i think every social media account i have is named like this or in spanish, great for privacy lol).
do I get asks: nah, in the past yes but what do i have to tell?
following: a few
followers: a lot (numbers of the time i used to gif teen wolf stuff and they don't mean anything now)
average hours of sleep: none. with help? 7
lucky number: 11
instruments: of destruction? self destruction? oh i wish i have them now. musical? cero, nada.
what am I wearing: pijamitaaaaaa
dream trip: i love big cities so probably Los Angeles and San Francisco.
favorite food: completos.
nationality: esta chilenita te hace perder los modales
languages: spanish, english, i can read some kanji hahaha who do i think i am.
favorite song: this questions ugh idk 'SALGO PA LA CALLE'. it was my ringtone in 2013. the anthem i needed every time i walked to la disco. el fuckin perreo me tiene viva hasta este día.
last book read: shangai baby by zhou weihui. dare i say it was BAD. do not recommend.
top three fictional universes i’d like to live in: las encinas ('elite') cause everyone is fabulous and get away with murder; the one in 'it's okay to not be okay', it gave me EVERYTHING i needed in a drama and i love them; and of course greendale.
i'm not going to tag anyone cause zzzzz.
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VARÈSE SARABANDE RECORDS Announces RECORD STORE DAY 2021 Releases.
Varèse Sarabande Records will be releasing seven amazing soundtrack LPs on Record Store Day 2021’s newly announced release dates: The Matrix will be released as a deluxe 3-LP set, Village of the Damned will be released as a deluxe-edition double LP, The Iron Giant and The Goonies will get the picture disc treatment, and Shrek, Ghosts of Mars, and Aliens will be released as limited-edition color LPs. This annual celebration will be held through a series of Record Store Day drops, which will occur on June 12th and July 17th.
These seven Varèse Sarabande Records titles will be available on the dates listed below at thousands of independent record stores. For a list of participating stores and more information about these special LPs, visit RecordStoreDay.com.
*JUNE 12th: The Matrix, The Goonies, Village of the Damned, Shrek
*JULY 17th: The Iron Giant, Ghosts of Mars, Aliens
THE MATRIX: The Complete Edition – Don Davis (3-LP Set) – *RELEASE DATE: JUNE 12th*
The science-fiction masterpiece has captured the imagination of another generation with news of a new Matrix film in production. This deluxe 3-LP set is pressed on Glitter-Infused Green vinyl, expanded to 44 tracks, and housed in a stunning new art design. Also included are classic film stills and an exclusive new interview with composer Don Davis.
TRACK LISTINGS
Side A
1. “Logos / The Matrix Main Title”
2. “Trinity Infinity”
3. “Neo Con Brio”
4. “Follow The White Rabbit”
5. “Neo On The Edge”
6. “Through The Surveillance Monitor”
7. “Unable To Speak”
8. “Bait And Switch”
Side B
1. “Switched For Life”
2. “Switched At Birth”
3. “Switches Brew”
4. “Cold Hearted Switch”
5. “Nascent Nauseous Neo”
6. “A Morpheus Movement”
7. “Bow Whisk Orchestra”
Side C
1. “Domo Showdown”
2. “Switch Or Break Show”
3. “Shake, Borrow, Switch”
4. “Switch Works Her Boa”
5. “Bring Me Dinner”
6. “The System”
7. “Freeze Face”
8. “Switch Woks Her Boar”
9. “Cypher Cybernetic”
10. “Ignorance Is Bliss / Cyber Cyphernetic”
11. “See Who?”
12. “Switch Out”
Side D
1. “Boon Spy”
3. “Oracle Cookies”
4. “Threat Mix”
5. “Exit Mr. Hat”
6. “On Your Knees, Switch”
Side E
1. “Mix The Art”
2. “Whoa, Switch Brokers”
3. “The Cure”
4. “It’s The Smell”
5. “The Lobby”
6. “No More Spoons”
7. “Dodge This”
8. “Fast Learning”
9. “Ontological Shock”
Side F
1. “That’s Gotta Hurt”
2. “Surprise”
3. “He’s The One Alright”
THE GOONIES – David Grusin (Picture Disc) – *RELEASE DATE: JUNE 12TH*
In celebration of the 35th anniversary of The Goonies, the beloved soundtrack by Dave Grusin will be released on an LP picture disc for the first time ever! The special release features the album cover on side A and the infamous One-Eyed Willie on side B. The track listing to this abbreviated single-disc version of the original score was personally selected and assembled by Grusin himself.
TRACK LISTINGS
Side A
1. “Fratelli Chase”
2. “Cellar And Sloth”
3. “The Goondocks (Goonies Theme)”
4. “The ‘It,’ Fifty Dollar Bills And A Stiff”
5. “Pee Break And Kissing Tunnel”
6. “Skull And Signature”
7. “Plumbing”
8. “Restaurant Trash”
9. “Boulders, Bats And A Blender”
Side B
1. “They’re Here And Skull Cave Chase”
2. “Playing The Bones”
3. “Mikey’s Vision”
4. “Triple Stones And A Ball”
5. “Wishing Well And The Fratellis Find Coin”
6. “Mama & Sloth”
7. “One Eyed Willie”
8. “No Firme And Pirate Ship”
VILLAGE OF THE DAMNED: The Deluxe Edition – John Carpenter & Dave Davies (2-LP Set) – *RELEASE DATE: JUNE 12TH*
The Deluxe Edition for Village of the Damned presents the full score as heard in the film for the first time, a far more complete presentation than the 1995 Original Soundtrack which was not only truncated but made of an entirely separate mix that wasn’t featured in the film. The set does, however, include the track “Midwich Shuffle,” a fun number which was created specifically for the 1995 soundtrack, despite never actually appearing in the film. Interest in John Carpenter’s original film scores has never been higher, and his collaboration with Dave Davies of the Kinks is a one-of-a-kind moment in cinematic music history. The album includes all-new original art direction with new notes and classic film stills and comes pressed on Orange Haze vinyl.
TRACK LISTINGS
Side A
1. “Angel Of Death / Midwich Sleeps / Daybreak”
2. “The Fair (Extended Version)”
3. “Gas Station / Asleep”
4. “Awaken / The Funeral”
5. “Welcome Home, Ben (Extended Version)”
6. “Big Meeting / The Decision”
7. “The Same Dream”
Side B
1. “Baptism (Extended Version)”
2. “Baby Mara”
3. “Children’s Theme / Dilemma”
4. “The Parents Arrive”
5. “Children’s Carol (Instrumental)”
Side C
1. “Loss / Carol Of The Damned”
2. “Carlton”
3. “Ben’s Death / Ultimatum”
4. “Burning Desire (Extended Version)”
Side D
1. “Last Kiss / The Bomb”
2. “The Brick Wall (Extended Version)”
3. “March Of The Children (End Credits)”
4. “Midwich Shuffle”
SHREK – Harry Gregson-Williams & John Powell (Limited-Edition Color LP) – *RELEASE DATE: JUNE 12TH*
Shrek is the second most successful animated franchise in history and celebrating its 20th anniversary in 2021. Harry Gregson-Williams and John Powell are two of the most prominent composers working on animated features today, and they joined forces to create a score that is still as fun and memorable as it was when it was first released. The LP will be released on Neon Green vinyl, making it a standout addition to any record lover’s collection.
TRACK LISTINGS
Side A
1. “Fairytale”
2. “Ogre Hunters / Fairytale Deathcamp”
3. “Donkey Meets Shrek”
4. “Eating Alone”
5. “Uninvited Guests”
6. “March Of Farquuad”
7. “The Perfect King”
8. “Welcome To Duloc”
9. “Tournament Speech”
10. “What Kind Of Quest”
11. “Dragon! / Fiona Awakens”
12. “One Of A Kind Knight”
13. “Saving Donkey’s Ass”
14. “Escape From The Dragon”
Side B
1. “Helmet Hair”
2. “Delivery Boy / Shrek / Making Camp”
3. “Friends Journey To Duloc”
4. “Starry Night”
5. “Singing Princess”
6. “Better Out Than In / Sunflower / I’ll Tell Him”
7. “Merry Men”
8. “Fiona Kicks Ass”
9. “Fiona’s Secret”
10. “Why Wait To Be Wed / You Thought Wrong”
11. “Ride The Dragon”
12. “I Object”
13. “Transformation / The End”
THE IRON GIANT – Michael Kamen (Picture Disc) – *RELEASE DATE: JULY 17TH*
This first-ever picture disc of this heartwarming 1999 animated film celebrates The Robot, his best friend, Hogarth, and a cast of characters. The music is by Academy Award®-nominated composer Michael Kamen (Lethal Weapon, Die Hard), who was well-known for his work with Eric Clapton, Metallica and Pink Floyd, in addition to his brilliant theatrical scores.
TRACK LISTINGS
Side A
1. “The Eye Of The Storm”
2. “Hogarth Hughes”
3. “Into The Forest”
4. “The Giant Wakes”
5. “Come And Get It”
6. “Cat And Mouse”
7. “Train Wreck”
8. “You Can Fix Yourself?”
9. “Hand Underfoot”
10. “Bedtime Stories”
11. “We Gotta Hide”
12. “His Name Is Dean”
13. “Eating Art”
14. “Space Car”
15. “Souls Don’t Die”
Side B
1. “Contest Of Wills”
2. “The Army Arrives”
3. “Annie And Dean”
4. “He’s A Weapon”
5. “The Giant Discovered”
6. “Trance-Former”
7. “No Following”
8. “The Last Giant Piece”
GHOSTS OF MARS – John Carpenter (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH*
In celebration of Ghosts of Mars’ 20th anniversary, the epic soundtrack will be released on “Red Planet” vinyl. John Carpenter recruited an unbelievable cast of musicians to record the soundtrack to this sci-fi horror film, starring Ice Cube and Natasha Henstridge. Among the featured players are GRAMMY®-winning musician Steve Vai, most of the heavy metal band Anthrax (including Scott Ian), Elliot Eason of the rock band The Cars, Buckethead of Guns N’ Roses, and Robin Finck of Nine Inch Nails and Guns N’ Roses. This soundtrack is apocalyptic and an important mark in John Carpenter’s unparalleled career as a director and composer.
TRACK LISTINGS
Side A
1. “Ghosts Of Mars”
2. “Love Siege”
3. “Fight Train”
4. “Visions Of Earth”
5. “Kick Ass”
Side B
1. “Slashing Void”
2. “Power Station”
3. “Can't Let You Go”
4. “Dismemberment Blues”
5. “Fightin’ Mad”
6. “Pam Grier’s Head”
7. “Ghost Poppin’”
ALIENS: 35th Anniversary Edition – James Horner (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH*
Aliens is regarded as one of the greatest science fiction franchises of all-time. In honor of its 35th anniversary, the long out-of-print original soundtrack gets a fresh reboot on Acid-Blood Yellow-Green vinyl. The soundtrack is scored by the great Academy Award®-winning composer James Horner (Titanic, Avatar, Beautiful Mind). The LP features the original Sigourney Weaver key art and original film stills.
TRACK LISTINGS
Side A
1. “Main Title”
2. “Going After Newt”
3. “Sub-Level 3”
4. “Ripley’s Rescue”
5. “Atmosphere Station”
Side B
1. “Futile Escape”
2. “Dark Discovery”
3. “Bishop’s Countdown”
4. “Resolution And Hyperspace”
ABOUT VARÈSE SARABANDE RECORDS
Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler. Varèse Sarabande is a part of Concord.
Follow: twitter.com/varesesarabande
Watch: youtube.com/varesesarabande
Listen: open.spotify.com/user/varesesarabanderecords
Like: facebook.com/varesesarabanderecords
Buy: varesesarabande.com
#music news#score#soundtrack#record store day#varèse sarabande#THE MATRIX: The Complete Edition#don davis#the goonies#david grusin#village of the damned#john carpenter#dave davies#shrek#harry gregson-williams#john powell#the iron giant#michael kamen#ghosts of mars#aliens#james horner#composer
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Australian Festival of Chamber Music
3-DAY ONLINE FESTIVAL
FESTIVAL OVERTURE
Welcome to Festival Overture - our three-day digital festival running from 16 – 18 April.
Each day offers a stellar program of music and visual delights, culminating in a nightly concert streamed from London. Our three evening concerts feature international artists that were to appear at AFCM 2021. Instead, they will delight us with stunning performances all the way from the Voces8 Centre in the UK.
Friday 16 April, 7pm – The Beating Heart
Performed by Jack Liebeck (violin) and Katya Apekisheva (piano)
BUY TICKETS
https://melbournedigitalconcerthall.com
Saturday 17 April, 7pm - Elysium
Performed by Carolyn Sampson (soprano) and Joseph Middleton (piano)
BUY TICKETS
https://melbournedigitalconcerthall.com
Sunday 18 April, 5pm – Romantic Dedications
Performed by Alexander Sitkovetsky (violin) and Wu Qian (piano)
BUY TICKETS
https://melbournedigitalconcerthall.com
Morning Melodies
Each morning at 10am enjoy a short performance by some of the artists joining us at AFCM in Townsville this July. They include Yelian He and Yasmin Rowe; Natsuko Yoshimoto and Imants Larsen and a special performance by our Artistic Director Kathryn Stott with Timothy Young.
Friday 16 April, 10am – Yelian He (violin) and Yasmin Rowe (piano)
Debussy - Cello and Piano Sonata
Saturday 17 April, 10am – Natusko Yoshimoto (violin) and Imants Larsen (viola)
Martinů - 3 madrigals for violin and viola
Sunday 18 April, 10am – Kathryn Stott (piano) and Timothy Young (piano)
Poulenc - Elégie (en accords altérnes) for 2 Pianos
Lunch time concerts
You can also enjoy a free half hour lunchtime concert each day, again featuring artists coming to Townsville in July.
Friday 16 April, 12pm - The Goldner String Quartet
Edwards - White Cockatoo Spirit Dance
Borodin - ‘Nocturne’ from String Quartet No.2
Piazzolla - Libertango
Beethoven - Op. 18 No.1, 1. Allegro con brio
Saturday 17 April, 12pm – David Greco (baritone) and Vatche Jambazian (piano)
Britten - Folk song arrangements
Howes - New Australian Art song composition from song cycle ‘April Songs’
Vaughan Williams - Songs of Travel
Sunday 18 April, 12pm – Elina Faskhi (cello) and Kristian Chong (piano)
Beethoven - Twelve Variations on the theme 'Ein Mädchen oder Weibchen
Mendelssohn – Sonata for Cello and Piano Op.45 in B flat major
These lunchtime concerts will be available to view at 12 noon daily – watch on your phones, tablets or computers - all you need is internet access!
Start each day with a welcome message from Kathyrn Stott and Jack Liebeck. There’s also more digital content in the form of Musical Memories videos– one for each decade the Festival has been running; and Destination Dreams videos showcasing some of the beautiful regions of North Queensland that we recommend you visit when you come to Townsville for the Festival in July. They include Mission Beach, the Atherton Tablelands and Magnetic Island.
View the 3-day program
https://s3-ap-southeast-2.amazonaws.com/os-data-2/afcm2021/documents/afcm_festival_overture_3_day_program_updated_apr_2021.pdf
View Concert Programs
https://s3-ap-southeast-2.amazonaws.com/os-data-2/afcm2021/documents/afcm_festival_overture_concert_programs_updated.pdf
The daily content is free for you to enjoy. The evening concerts require you to purchase a ticket. All ticket income goes back to the artists performing (less GST and a small admin fee). Ticket holders simply need internet access to view these concerts.
Single concert tickets - $24 (includes $4 admin fee)
Three Concert Pass - $65 (includes $8 admin fee)
We have partnered with Melbourne Digital Concert Hall to deliver the evening concerts. Purchase online or call MDCH on 1300 994 208.
BUY YOUR TICKETS
https://melbournedigitalconcerthall.com
Don’t forget to invite your friends around to watch the concerts with you and enjoy some beautiful chamber music from the comfort of your own home!
https://www.afcm.com.au/whats-on/online-festival/
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Every Baby Name We Could Possibly Think Of
Naming your baby is a big decision, and with endless options, it can also be a difficult one. Whether you're going the traditional route or want something more unique (if so, read this first!) it's helpful to have a little, or a lot, of inspiration. Ahead, you'll find nearly every baby name we could think of (close to 1,000!). These aren't just random names we found in a book or concocted ourselves - they're almost all monikers we've heard being used, or we actually know someone who goes by the name. If we missed any, tell us in the comments! A Aaliyah Aaron Abbie Abel Abigail Abraham Adalyn Adam Addilyn Addison Adelaide Adeline Adley Adora Agatha Aiden Alan Albert Aleph Alexander Alexis Ali Alma Alton Ama Amanda Amaryllis Amber Ameila Amélie Amy Anders Anderson Andrea Andrew Angie Angela Angelica Anika Anna Annalise Anne Annie Ansel Apple April Arata Archie Aria Ariane Ariel Arlee Arlo Arman Arthur Arun Arwen Arya Asha Asher Aspen Atticus Aton Aubrey Audrey August Augustus Aurora Ava Avery Axel Aziz B Bailey Barack Barbara Barney Barry Beatrice Beau Beckett Beckham Becky Ben Benedict Benjamin Bennett Bentley Bernadette Beth Bette Betty Beverly Bexley Bianca Bill Billie Bingham Bishop Bitsie Blake Blue Bobby Bodhi Bonnie Bowie Brady Braelynn Brandon Brayden Brecken Bree Brent Brenton Brett Brian Briana Briar Bridgette Brienne Brig Brigham Brinley Brio Britta Brock Brody Bronwyn Brooklyn Bruno Bryan Byron C Caden Caitlin Caity Cale Caleb Calla Calvin Camari Cameron Camilla Carena Carina Carl Carmel Carol Carrey Carter Cary Casey Caspian Cat Catherine Celine Chandler Chanel Channing Charise Charlene Charles Charlotte Chase Cher Cheri Cheriann Cheryl Chevy Chip Chloe Chris Chrissy Christian Christopher Claire Clara Clark Clary Claudia Clementine Clifford Clint Clinton Clyde Colin Collins Condoleezza Connor Conrad Constance Coolidge Cooper Cora Corban Courtney Cruz Related: 100 of the Most Beautiful Baby Names D Daisy Dale Dallas Damon Dane Danica Daniel Danielle Daphne Darby Darlene Darrel Daryl Dashiell Dave David Davina Davis Davon Dawn Dean Deanna Declan Dekel Delaney Delilah Delta Dennis Denzel Desmond Dev Devon Dexter Diane Dinah Dixie Dixon Dolores Dominique Donald Doris Dorothea Dorothy Dot Duke Duncan Dwight Dylan E Easton Ed Eden Edith Edmund Edward Effie Eleanor Elena Eli Eliana Elijah Elise Elizabeth Ella Elle Ellen Ellerie Ellie Elliott Ellis Elodie Eloise Elora Elroy Elsa Elsie Embry Emerson Emily Emma Emmett Eric Erica Esme Esmeralda Esther Ethan Ethel Eugene Evan Eve Evelyn Everett Evie Ewan Ezra F Farah Fay Felix Ferris Finn Fiona Fisher Fitz Fleur Flint Florence Floyd Flynn Ford Forrest Foster Fox Frances Frank Franklin Frederick G Gabe Gabriel Gaige Gail Gant Garrett Garth Gavin Gem Gemma Gene Genesis Gertrude George Gianna Gibson Gigi Gina Ginger Gladys Glenn Gloria Gordon Grace Grady Graham Grant Grayson Greer Gregory Griffin Grover Gus Gwen Gwyneth H Hadlee Hailey Hal Halle Hank Hannah Harding Harlow Harlyn Harold Harper Harriet Harrison Harry Hart Hartley Harvey Haven Hawk Hawthorne Hayden Hayes Hays Hazel Hector Heath Heather Helen Henley Henry Hillary Honor Holden Holly Holt Hope Hubert Hudson Hugo Humphrey Hunter Hurley Hutton Related: Based Off Last Year's Trends, These 30 Names Will Be Among the Most Popular of 2017 I Ian Ida Idris Ike Imanuel Imogen India Indy Ingrid Inizio Ireland Iris Irvin Isa Isaac Isabella Isabelle Isaiah Isla Israel Ivana Ivory J Jack Jackie Jackson Jacob Jacqueline Jaden Jaelyn Jagger Jake James Jameson Jamie Jane January Jason Jasper Jaun Jax Jaxon Jayce Jayden Jeannette Jed Jeff Jefferson Jenna Jess Jessica Jessie Jill Jillian Joan Joanna Joaquin Joe John Jones Jordan Joseph Josephine Josh Joshua Joslyn Joss Joy Joyce Judith Judy Jules Julia Julian Julie Juliet Julius June Juno Justin K Kai Kaia Kale Kalinda Kane Karah Katharine Kathryn Kate Kay Kaya Kaylee Keanu Keegan Keira Keith Kellan Kelly Kelsey Kendall Kennedy Kevin Khloe Kiah Kiele Kiera Kim Kima Kimberly Kingston Kinsley Kirk Kit Kitty Knox Krista Kristen Kurtis Kyle Kylie L Laith Lake Lana Landon Lane Larissa Larkin Laszlo Laura Lauren Lawrence Layla Leah Lee Leia Leighton Leilani Lena Lennon Leo Leonard Leslie Levi Lewis Leyona Lia Liam Liana Lida Lilith Lillian Lily Lincoln Lindsay Lionel Lisa Lisette Liz Logan Lois Lola London Loretta Lorraine Louella Louise Lucas Lucian Lucille Lucy Luke Luna Lux Lyle Lyndon Lynne Related: 100 Unusual Boy Names M Mabel Mabrey Mac Macallan Mackenzie Macy Madeleine Madelyn Madison Mae Maeby Maggie Mahershala Maia 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NEW CREATORS AT ABT
The program on Wednesday, October 23, comprised ballets by one recent and two new dance makers for the company, and the dancers seemed energized by the spirit and the rigor of the new works. There are no radical departures in form, but these younger choreographers have a feel for what the dancers are technically capable of and don’t hesitate to exploit their strengths.
The company’s initiative to promote women dance makers has changed the power dynamics onstage and fostered more of a balance of control in the dancing. Yes, the women still get lifted and supported by men, but they’re no longer passively compliant. Sometimes they ask for what they want and get it. With this current initiative to increase both the racial diversity and the pool of women choreographers in ballet, there seems to be a welcome generational shift to greater equality of control for ballerinas.
As if to prove the point, the program opens with James Whiteside’s debut ballet for the company, featuring a high-powered cast – Calvin Royal III (African-American), Joo Won Ahn (Asian), Aran Bell, Devon Teuscher, Catherine Hurlin, Isadora Loyola, Katherine Williams, and Stephanie Williams. “New American Romance,” is set to “Suite Bergamasque” for piano solo by Claude Debussy, played flawlessly by Jacek Mysinski, live.
James Whiteside’s NEW AMERICAN ROMANCE. (center) Aran Bell, (clockwise from top right) Calvin Royal III, Isadora Loyola, Stephanie Williams, Devon Teuscher, Catherine Hurlin, Katherine Williams, and Joo Won Ahn. photo by Rosalie O’Connor
The work – nicely organized into four movements separated by blackouts – is a look at the choreographer’s unique take on romantic love, one that steers clear of Hollywood sentimentality. A duet for Catherine Hurlin and Aran Bell – the closest thing to a traditional “romantic” pas de deux – demands total trust with spectacular lifts that literally flip Hurlin repeatedly and surprisingly over Bell’s powerful arms and climaxes in a risky, one-handed overhead press. No saccharine love affair this!
Katherine Williams, Isadora Loyola, and Stephanie Williams are best buds, tipping on their pointes in mutual support, copying each other’s motifs in canon, and shimmying their shoulders in liberated defiance. Whiteside underlines the women’s power by having Katherine Williams do a chain of entrechats and all three, tours to the knee, which they pull off without batting an eye.
Movement Three introduces romantic gender diversity, when, after starting as a lovey-dovey duet for Teuscher and Ahn, it veers into the unexpected, when Royal enters and becomes the object of both their affections. They end up with their bodies draped atop of each other in a discreetly passionate threesome.
(l-r): Calvin Royal III, Joo Won Ahn, and Devon Teuscher in James Whiteside’s NEW AMERICAN ROMANCE photo by Erin Baiano
Brandon Stirling Baker bathes the piece in washes of cool light, and costumes provided by Primadonna are sweetly romantic, long, blue tutus on the women and blousy, light blue shirts and dark tights for the men, accentuating the irony of Whiteside’s wry deconstruction of traditional romance. It’s a structurally clear and teasingly inventive debut that promises more to come.
Gemma Bond’s world premiere, “A Time There Was” draws its moods from Benjamin Britten’s acerbic “Suite on English Folk Songs” – whence the title – and his “Fugue and Variations on a Theme of Frank Bridge.” David LaMarche conducts with his customary brio. Sylvie Rood’s costumes are body-hugging but ornate bodices that suggest Renaissance attire; sleeves get added for some of the women and skirts made of streamers for some of the men. Serena Wong is the lighting designer, starting the piece dramatically by silhouetting the cast of fifteen against the cyclorama.
The ballet is divided into five sections that each feature a different couple with background attendants – Cassandra Trenary and Cory Stearns, Katherine Williams and Tyler Maloney, Zimmi Coker and Gabe Stone Shayer, Stearns and Teuscher, finally Isabella Boylston and Whiteside. The action whizzes by, dense and fast-paced, so distinctions among the characters are a matter for later reflection. A slow tempo passage generally greets the entrance of each subsequent featured couple, but the texture of the dancing throughout is similar, making it hard to parse in a single viewing.
But the movement has a youthful exuberance and freshness, and the costumes liven the space with changing color palettes, as dancers rush on and offstage. The final ”Fugue and Finale,” features Boylston partnered by Whiteside and brings the ballet to a quiet, pensive close, with them drifting offstage together.
(l-r): James Whiteside and Isabella Boylston in Gemma Bond’s A TIME THERE WAS. photo by Rosalie O’Connor
I imagine Jessica Lang’s “Garden Blue” (2018) to be set in a bright garden, saturated in Nicole Pearce’s sunny lighting. But although bright colors predominate in the costumes, none is actually blue. The three couples wear sleek unitards in electric colors; Aran Bell and Catherine Hurlin in red/orange, Thomas Forster and Brittany Degrofft in canary yellow, and Blaine Hoven and Skylar Brandt in fuchsia; the fourth woman, Hee Seo’s unitard is white with green patches.
(l-r): Hee Seo with Catherine Hurlin, Thomas Forster, Blaine Hoven, Aran Bell, Skylar Brandt, and Brittany DeGrofft in Jessica Lang’s GARDEN BLUE. photo by Rosalie O’Connor
The costumes are by Sarah Crowner, as is the setting, which consists of three sturdy wooden forms that look like the whirlybirds that fall from maple trees; two are onstage and a third, hangs above. The music is the first three movements of Antonin Dvořák’s “Piano Trio No. 4 in E Minor.” Dancers’ repeated tiny flutters of arms suggest insects’ wings. The dancers rearrange the set pieces throughout, sheltering and concealing dancers, and reshaping the space. Seo flits about like the boss of the six, making things happen. Lang’s ballet like the other two are welcome, lyrical additions to the ABT repertory.
Gus Solomons jr, © 2019
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Bach, Mozart, Chopin, Beethoven ...Piano Playlist
The Best of Classical Music & Video
Track List:
01 - 0:00 - "Moonlight Sonata" -- Beethoven
02 - 5:14 - "Prelude in C major" -- Bach
03 - 7:27 - "Serenade No. 13 in G major" -- Mozart
04 - 13:15 - "Fur Elise" (Bagatelle No.25)" -- Beethoven
05 - 15:43 - "Prelude Op.28 No.4 in E minor" -- Chopin
06 - 18:15 - "The Four Seasons SPRING" -- Vivaldi
07 - 22:15 - "SUMMER" -- Vivaldi
08 - 25:08 - "AUTUMN" -- Vivaldi
09 - 30:10 - "WINTER" -- Vivaldi
10 - 33:24 - "Messiah" -- Handel
11 - 37:07 - "Ouverture Op49" - Tchaikovsky
12 - 53:26 - "Gymnopédies No.1" -- Erik Satie
13 - 56:36 - "Gymnopédies No.2" -- Erik Satie
14 - 59:13 - "Gymnopédies No.3" -- Erik Satie
15 - 1:01:36 - "Les Toreadors" -- Georges Bizet
16 - 1:03:52 - "Ride of the Valkyries" -- Wagner
17 - 1:09:13 - "Allegro con Brio" -- Beethoven
18 - 1:16:05 - "Turkish March" -- Mozart
19 - 1:19:38 - "Morning Mood" -- Edvard Grieg
20 - 1:23:15 - "The Nutcraker" -- Tchaikovsky
21 - 1:29:56 - "Ode to Joy" -- Beethoven
22 - 1:53:34 - "The Blue Danube" -- Johann Strauss II
23 - 2:02:53 - "Hungarian Rhapsody No2" -- Franz Liszt
24 - 2:13:39 - "Ouverture to Egmont" -- Beethoven
25 - 2:22:43 - "Carmen Opera" -- Bizet
26 - 2:24:41 - "Brandenburg Concerto" -- Bach
27 - 2:31:55 - "The Nutcraker" -- Tchaikovsky
28 - 2:35:55 - "Ouverture- Can-can" -- Jacques Offenbach
29 - 2:45:06 - " The Funeral March " -- Frédéric Chopin
30 - 2:54:28 - " William Tell Ouverture" -- Gioachino Rossini
31 - 3:06:10 - "Twelves pieces for solo piano" -- Pyotr Tchaikovsky
32 - 3:11:49 - "Amazing Grace" -- James Carrell/David Clayton/John Newton
33 - 3:14:55 - "A Midsummer Night's Dream" -- Felix Mendelssohn
34 - 3:19:58 - "Tocata in D minor" --Bach
35 - 3:23:03 - "Cello Suite No.1 in G major" --Bach
36 - 3:25:08 - "Also sprach Zarathustra" --Richard Strauss
37 - 3:26:33 - "Wiegenlied: Guten Abend, gute Nacht" -- Johannes Brahms
*** 27 – Crack noserial, Two different pieces, one is "The Waltz of the Flowers" and the other is "Dance of the Sugar Plum Fairy", both from the two-act ballet "The Nutcracker", score by Pyotr Tchaikovsky.
3 HOURS Classical Music Playlist Mix ( Bach, Mozart, Chopin, Beethoven ) Beautiful Piano, Violin & Orchestral Masterpieces by the greatest composers of all time.
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Instrumental Music!
Músicas Instrumentais
#The Best of Classical Music & Video#ClassicalMusic#Video#Bach#classicalmusic mozart beethoven#beethoven#mozart#Chopin
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Jews used Irony and Wrote History when Corbyn’s Ancestors were "Savages"
In 1835, Daniel O’Connell, Britain’s first Irish Catholic Member of Parliament, attacked Benjamin Disraeli during a by-election. In the course of his unrestrained invective, the Irishman referred to Disraeli’s Jewish ancestry calling him the “worst possible type of Jew”.
Disraeli shot back with characteristic chutzpah and brio in a letter to The Times. “Yes, I am a Jew,” he replied, “and when the ancestors of the right honorable gentleman were brutal savages in an unknown island, mine were priests in the temple of Solomon.”
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From the moment Disraeli became Prime Minister, the Liberal press indulged in anti-Jewish innuendo against him. His Liberal successor William Gladstone, when opposing the pro-Turkish policies of Disraeli’s Conservative government, accused English Jews of loyalty to foreign Jews. “Gladstone was convinced that Disraeli’s Jewish origins were an influence on his conduct of policy,” writes historian David Cesarani. “The accusation that Jews, from Disraeli downwards, were motivated by dual loyalty gained in volume,” he states.
Over a century has passed. The accusations against Jews remain as stereotypical as Shylock in Shakespeare’s The Merchant of Venice. Jeremy Corbyn, leader of Britain’s Labour party is proving to be a worthy successor to his anti-Semitic forbears in Parliament.
This week, the media broke the story of Corbyn’s speech at a pro-Palestinian conference in London in 2013. There, the leader of the opposition not only accused British Jews of dual loyalty, but also disparaged them for being stupid. Corbyn pontificated in The Times:
“Zionists … clearly have two problems. One is they don’t want to study history, and secondly, having lived in this country for a very long time, probably all their lives, they don’t understand English irony either. They needed two lessons, which we could perhaps help them with.”
Luciana Berger, Labour MP for Wavertree, tweeted that as “a proud British Jew” she felt unwelcome in her own party. Not surprisingly, the merry host of responses on Twitter hummed back a common theme – well, in that case, why don’t you get out of such an anti-Semitic cesspool? Berger added: “I’ve lived in Britain all my life and I don’t need any lessons in history/irony.”
The video released today of the leader of @UKLabour making inexcusable comments - defended by a party spokesman - makes me as a proud British Jew feel unwelcome in my own party. I’ve lived in Britain all my life and I don’t need any lessons in history/irony.
— Luciana Berger (@lucianaberger) August 23, 2018
Berger’s rather pedestrian response makes me long for a vintage Disraeli-like response to Corbyn’s fatuous remarks. Jews don’t understand English irony? Jews don’t want to study history? Doesn’t Corbyn know that Jews practically invented history? Jewish prophets were lacing their invective with irony and Jewish priests were chronicling history in Solomon’s Temple when Comrade Corbyn’s ancestors were brutal savages running around draped in animal skins, thumping each other with clubs and communicating in grunts and snorts – they were not even as cute as the Flintstones. I'm exaggerating, of course, and hope Corbyn understands a figure of speech – it is more likely his ancestors were singing battle-songs around campfires.
Corbynistas have leaped to their leader’s defence claiming that his comments were targeted at “Zionists” – not all Jews. In that case, count me in. I’m offended, because I’m an ardent Zionist. The label of “Zionist” as a pejorative term is a standard anti-Semitic trope. In effect, anti-Zionists are insisting that Jews abandon their loyalty to the Promised Land and profess sole allegiance to the country they live in. But Israel as a “people” inextricably bound to a “land” is as essential a component of Judaism as is Torah and belief in monotheism.
Hence, insisting that a Jew surrender his belief in the nation/land of Israel or the right of the Jewish people to a state is anti-Semitism in the highest. Anti-Semites over centuries have demanded that Jews relinquish one component or another of their religion in order to be accepted. Corbyn is asking them to give up Zion.
We all know Corbyn is a rabid anti-Semite. Now we know Corbyn is a moronic and semi-literate anti-Semite. He lectures Jews about irony. Has he never heard a Jewish joke? Does he not know that the people best known for their humour are Jews? Corbyn, like most lugubrious Leftists, doesn’t have a funny bone in his body. Anyone ever seen a picture of Karl Marx laughing? No wonder just eleven people turned up at his funeral!
The Hebrew Bible is dripping with irony that would make Corbyn shuffle his feet. Irony uses words to express something other than and especially the opposite of the literal meaning. God himself uses irony in the book of Judges. “Go and cry out to the gods whom you have chosen; let them save you in the time of your distress,” God tells the Israelites who have been flirting with the pagan Baals. The Israelites don’t take God literally; they get the irony and repent of their sins.
Irony peaks with the prophet Elijah on Mount Carmel jeering at the priests of Baal as to whose God can light the fire on a giant-sized barbecue. “Cry aloud, for he is a god,” Elijah taunts his opponents. “Either he is musing, or he is relieving himself, or he is on a journey, or perhaps he is asleep and must be awakened.” No, Mr. Corbyn, Elijah didn’t believe in the divinity of Baal or that Baal was desperate to use the toilet.
When King David dances before the ark with naked exuberance, his wife Michal confronts him with very English irony and icily tells David:
“How the king of Israel honored himself today, uncovering himself today before the eyes of his servants’ female servants, as one of the vulgar fellows shamelessly uncovers himself!”.
Jesus and Paul, both Jews, use irony and even the Roman soldiers hail Jesus as “King of the Jews”! Carolyn Sharp’s book on Irony and Meaning in the Hebrew Bible is only the latest in a long list of academic works exploring Jewish irony.
I didn’t know whether to laugh or cry when I heard Corbyn say that the Jews “don’t want to study history”. If it weren’t for the Jews, we’d still be singing with Engelbert Humperdinck. Turning and turning the world goes on, we can’t change it, my friend; and clinging to a cyclical notion of time, which means we’d have no sense of history! The religions of the ancient Near East and Indic religions like Hinduism and Buddhism all believed in a cyclical notion of time.
One of the most radical innovations of the Jews was the idea of God breaking into history and superintending Israel’s history and the history of the nations; when every other ancient religion believed in deities who controlled only nature. The Hebrew Bible begins with archetypal stories and genealogies but goes on to use historical material drawn from the “Books of the Chronicles” of different kings (the term is used 45 times in the Hebrew Bible).
Every Jewish festival is rooted in historical events rather than in agricultural seasons. A droll Jewish gag sums up the historical nature of Jewish festivals:
“They tried to kill us. We won. Let’s eat!”
The Jewish philosopher Sir Isaiah Berlin (can’t get more British than having “Sir” prefixed to your name) wrote, “All Jews who are at all conscious of their identity as Jews are steeped in history.” In fact, Jews are so steeped in history that the Hebrew language does not have a word for it. Instead, the Bible uses the word ‘remember’; because Jews are called to study and remember history.
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If only Corbyn knew a little real history (his view of history is limited to Marxist historical materialism), he’d recognize that over millennia the superpowers of Egypt, Assyria, Babylon, Persia, Greece, and Rome imploded, crumbled and fell to the dust. No one worships their gods anymore. No one reads their books anymore, except a few scholars of Oriental Studies. Because the Jews retained a deep memory of their land and their history – Israel came back to life in 1948 after the Romans destroyed it in 70 AD.
Corbyn understands neither irony nor history. Never mind his ancestors romping around on an unknown island that had not yet discovered tea when King Solomon was writing an encyclopedia and composing proverbs and psalms; the delusional, dystopian socialist is still a semi-literate Philistine and an anti-Semitic savage.
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"A Clockwork Lemon Portraiture XXIII", performing Antonello, Brescia 2017.
"A Clockwork Lemon Portraiture” Portfolio 2017
©All rights reserved. Using these images without permission is in violation of international copyright laws
#william davide brio#william#davide#brio#portrait#man#muscular#brescia#italia#build men#mascular#yellow#clockwork lemon#portraiture
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'David Tennant gives a glowing review of Neil Patrick Harris' Toymaker portrayal ahead of Doctor Who's 60th anniversary, praising the actor for what he brings to the 1960s-era villain. The actor will take on the role of the powerful celestial being first portrayed by Michael Gough opposite First Doctor William Hartnell in the 1966 story, "The Celestial Toymaker." Harris previously worked with returning showrunner Russell T Davies on his acclaimed 2021 drama It's A Sin as tailor Henry Coltrane before joining Doctor Who's 60th-anniversary specials.
As Doctor Who's first 60th-anniversary special, "The Star Beast," is set to air, Fourteenth Doctor actor Tennant has teased to Entertainment Weekly about what viewers can expect from the third special's villain, the Toymaker. Keen to avoid spoilers, Tennant stated Harris surprised him in his portrayal of the returning First Doctor villain, praising the actor's turn as truly unique to him and being able to handle the characteristics necessary to bring the Toymaker to life in the new era. Check out Tennant's' review below:
Oh, he's good. I don't quite know if he knew what to expect, but he dived in with such gusto and brio. I don't want to give away too much about what might be required of the Toymaker, but you need a sort of all-round entertainer to play that part and a very good actor, so there aren't a lot of people who could have ticked all the boxes required. We were really excited when Neil said 'Yes' and actually it's impossible to imagine who else it might have been.
Why The Toymaker Is One Of The Doctor's Deadliest Foes Yet?
The Toymaker first made his Doctor Who debut in 1966's "The Celestial Toymaker," as an all-powerful being who drags Hartnell's First Doctor and companions Steven (Peter Purves) and Dodo (Jackie Lane) into his realm to challenge the Time Lord once more. Rather than being motivated by genocidal desires like the Daleks or a desire to convert all living beings like the Cybermen, the Toymaker instead seeks to alleviate his boredom by using his near-limitless powers to play twisted childish games, challenging random individuals across time and space. Should they lose one of his games, his opponents would become one of his playthings, trapped in his realm forever.
As such, the Toymaker could be one of the Doctor's deadliest foils. Not only is he able to overpower the Doctor in terms of abilities thanks to his mysterious, undefined abilities, but he can never truly be vanquished. The First Doctor stated in the 1966 Doctor Who story that, despite his world being destroyed, the Toymaker and he would cross paths again in the future. Furthermore, the Toymaker's motivations are in direct opposition to the Doctor's own goals, as while the Time Lord transports companions across the universe to see its wonders and grow as people, the Toymaker seeks to control and trap beings for his selfish desires, rendering them simple tools to him.
After Doctor Who scrapped many ideas for his return, Harris' portrayal of the Toymaker in the 60th-anniversary finally fulfills the character's promise to the Time Lord after 57 years. With over five decades of character development for the Doctor and technological advancements for the show's productions, there are questions as to how the revival series can make the Doctor's foe deadlier than ever for a new generation. With Tennant offering high praise of Harris' portrayal, it is clear that the Toymaker will be a standout element for viewers to look out for in Doctor Who's 60th-anniversary.'
#David Tennant#Doctor Who#60th Anniversary#The Toymaker#Neil Patrick Harris#It's A Sin#William Hartnell#Russell T. Davies
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Entertainment: Britain's musical soul, all aflutter
(Critic’s Notebook)
MANCHESTER, England — It was coming to the end of the first act of “Siegfried.” The hero was hammering out his sword.
The Hallé Orchestra was ratcheting its way through the cranking theme Wagner fashioned for the forging of the blade. The sound was deep, detailed, an actor in its own right.
On the podium, Mark Elder gave a satisfied smile.
In a pair of semi-staged performances this month at the Bridgewater Hall here, the Hallé, in radiant, commanding form, completed Wagner’s “Ring,” nine years after it began. A “Ring” is an achievement for any orchestra, but for the Hallé and its audience, it had a special meaning.
“Siegfried,” which the orchestra will encore at the Edinburgh Festival on Aug. 8, signified the Hallé's recovery: a slow, steady rebuilding in the two decades since it faced mortal financial peril. Long occupying a cherished place in its country’s musical psyche, with an unusually well-defined identity based in British music, it is the kind of orchestra everyone roots for.
It has become, once again, an ensemble with both a claim to international quality and a sense of national purpose — an orchestra vital to the north of England, which it considers its domain.
I can testify to that local mission. In Nottingham, where I grew up, the Hallé was the bright light in a barren musical landscape. It was the first orchestra I heard live as a child; the first to make me cry; the first to put me to sleep; the first to give me that shiver up my spine that I have chased ever since. The Hallé convinced me of the value of a musical life.
It convinced me of Wagner’s value, too, and this “Siegfried” confirmed it gives inspired performances of his work. When it eventually joins the live recordings of the other “Ring” operas on the Hallé's own label, “Siegfried” will crown a set marked by unruffled patience, a rare commitment to details, precision of color, delicacy and grandeur in the same notes.
The “Götterdämmerung” is electric; the “Die Walküre,” which I heard live in 2011, is bathed in tragedy, rather than fired by ardor; the “Das Rheingold,” released this month, is careful, darkly intense. The “Siegfried” will have the best playing and singing of the lot (except for a tentative, thin performance of the title role by Simon O’Neill).
It is all exalted music drama. Barring Daniel Barenboim’s accounts from the Bayreuth Festival, there is no “Ring” from the last 40 years that I would rather hear.
Why would a symphony orchestra, let alone one with a budget of only 10 million pounds ($13.5 million), take on a task that most opera houses fear? For some, a “Ring” is a vanity project. Here, though, Wagner has been integrated into a repertory consciously designed to develop the ensemble. Individual acts came first, then full operas, including a ravishing “Parsifal” at the BBC Proms in 2013.
“Opera in its very nature is basically valuable to all musicians for at least two reasons,” Elder, the music director, said in an interview after a rehearsal. “How music must breathe, because singers have to breathe; and how music can express the psychology of character. In the normal repertoire, most symphony orchestras never get to either of those things.”
“When you do Wagner’s major works, you’re landing yourself with yet another challenge, and that is what I call large-scale chamber music,” added Elder, an acclaimed music director of the English National Opera between 1979 and 1993 and a perpetual candidate to inherit the Royal Opera House. “If it sounds well, it’s because everybody is beginning to be aware of how their part relates to all the others.”
Despite the attraction of a new concert hall, which helped lead Manchester’s revitalization after an Irish Republican Army bombing destroyed parts of the town center in 1996, the Hallé was mired in financial uncertainty when Elder was appointed in 1999.
The board blamed the ambitions and conducting fees of his predecessor, Kent Nagano, who had increased the orchestra’s international reputation, leading it at the Salzburg Festival as the pit band for Messiaen’s immense “Saint François d’Assise.” But, having charged Nagano with that mission, the board tolerated mismanagement and could not curtail ruinous debts.
“The organization nearly didn’t exist,” Elder said. Consultants declared it practically bankrupt. Nearly a fifth of the orchestra, and a third of the staff, was laid off. Morale plummeted.
Deep crises, however, can produce stability if they force an orchestra to stop muddling along. John Summers, the orchestra’s chief executive, who joined the same time as Elder, used emergency state funding to stabilize the finances — though Britain’s austerity has since delivered savage cuts in public subsidy for the arts, so the orchestra still runs deficits.
About 60 percent of the orchestra has been hired since 2000, and it has created its own youth orchestra — conducted by Elder’s American assistant, Jonathon Heyward — and choirs. Most of the Hallé's players take part in its education program, which has unusually strong links with local school authorities, at a time when funding for music education is limited.
Often called the country’s oldest orchestra, the Hallé and its choir were established in 1858 by a German pianist and conductor, Charles Hallé. By 1899, the orchestra had become prominent enough to lure Hans Richter — the conductor of Bayreuth’s first “Ring” — from the Vienna Court Opera. After nearly collapsing during World War II, the ensemble was resurrected by John Barbirolli, who used it as an escape from an unhappy spell at the New York Philharmonic in 1943. An inspirational figure, Barbirolli led the Hallé until his death in 1970.
The Hallé became especially associated with British music, particularly through Barbirolli’s recordings of Elgar, Vaughan Williams and Delius. Elder has cemented its position as the guardian of British tradition, not through an unthinking celebration of the past, but a rethinking of its relevance.
“I’m trying to define our musical soul,” he said. That commitment that has only strengthened in a fraught political moment. Elder, who was knighted in 2008, said he has tried to make the Hallé “the best orchestra in the world for playing the music of our country.”
So it is. Unlike so many recordings of English works from earlier generations of conductor-knights, with their whiff of patrician amateurism, Elder’s are distinguished by their preparation and refinement. They are enough to banish any clichéd thought of what the modernist composer Elisabeth Lutyens memorably called “cowpat music.”
There is still a green thread of pastoralism, with Delius, Butterworth and Bax all represented, and Elder seems most comfortable in that idiom. A continuing cycle of Vaughan Williams symphonies, for example, is more effective in the lush Fifth and the elegiac “A Pastoral Symphony” than in the violence of the Fourth and Sixth.
Given that the Hallé gave the premiere of Elgar’s First Symphony in 1908, it is no surprise that his music dominates. His symphonies, recorded early in Elder’s tenure, would be improved on now, on the evidence of recent performances I have heard. But each of the three titanic oratorios — “The Dream of Gerontius,” “The Apostles” and especially “The Kingdom” — is the stuff of dreams.
Elder’s adoration is not blind. “I believe very strongly that I have to search out really carefully which of the pieces I really want to do, so that I can say why,” he said. “You can’t just do all British music. You have to give it personality. I talk to the orchestra a lot about what it is that makes Elgar and Vaughan Williams and Bax separate sound worlds, so they know what we’re trying to achieve.”
“It’s to do with the balance of the orchestra,” Elder said. Even without underlining Elgar’s Wagnerian ties to the Austro-Germanic tradition, one still needs “a great warmth in the strings, and the brass as in Wagner, supporting, very rarely overwhelming.”
More important is to “spend time in the shadows of the music,” he added, to find “the 50 shades of gray in between the black and the white. That’s the reason to do Elgar, because we all know the brio, the pomp and circumstance — call it what you like.”
Vaughan Williams, who studied with Ravel, poses different challenges. “Gone is the warm richness of the German bass counterpoint,” Elder said. “You need something leaner, something that is balanced acutely for the colors, and the spacing of the music.”
On the NMC label, the Hallé has contributed new additions to the British tradition, including music by Harrison Birtwistle, John Casken, Tarik O’Regan, Helen Grime, Simon Holt and Ryan Wigglesworth, who has served as the orchestra’s principal guest conductor.
“The creative energy in a country is part of defining what the country is,” said Elder, whose contract runs until 2020. (He will most likely stay beyond that, until a successor is in place). “A country without a rich, supported, appreciated, followed cultural energy is a very sad country.”
This article originally appeared in The New York Times.
DAVID ALLEN © 2018 The New York Times
source https://www.newssplashy.com/2018/06/entertainment-britains-musical-soul-all.html
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Ettore Sottsass
Ettore Sottsass. Arquitecto y Diseñador industrial.
Ettore Sottsass (1917, Innsbruck, Austria – 2007, Milán) fue uno de los diseñadores más importantes del siglo XX y uno de los más importantes de toda la historia de Italia, que ayudó a definir internacionalmente el llamado Italian style.
Fundador del Grupo de diseño Memphis en 1981 con Bárbara Radice (crítica de arte), fue también un importante Consultor de diseño para la firma Olivetti.
Empezó en 1956 diseñando equipos de oficina, máquinas de escribir y muebles. Fue en esta empresa donde Ettore Sottsass se hizo un nombre como diseñador que, a través del color, la forma y el estilo, logró convertir estos equipos anteriormente anodinos en parte de la cultura popular.
La máquina de escribir Valentine (1969) fue “un brio entre las máquinas de escribir“, más una declaración de diseño que una máquina de oficina, un icono. Fue tal revolución en el mercado, y también como diseño industrial, que hoy en día sigue expuesta -y desde el año de su creación- en el Museo de Arte Moderno de Nueva York.
Ettore Sottsass fue el diseñador de Olivetti durante gran parte de su carrera y realizó otros muchos diseños innovadores, a parte de Valentine, como la calculadora Elea 9003, la primera computadora central italiana, por la que consiguió en 1960 el prestigioso Compasso d’Oro.
Creció en Milán donde su padre era arquitecto. Se graduó en 1939 como arquitecto en la Universidad Politécnica de Turín donde estuvo cuatro años. Al dejar la Universidad, Sottsass se alistó en el ejército pero pasó gran parte de la Segunda Guerra Mundial en un campo de concentración en Yugoslavia.
Cuando regresó a su casa trabajó en un despacho de arquitectos y en diversos proyectos junto a su padre hasta que en 1948 montó su propio estudio de arquitectura y diseño industrial llamado El Estudio, en Milán.
Entre 1946 y 1956, Sottsass se dedicó a gestionar proyectos artísticos, a escribir para la revista de arte y arquitectura Domus, diseñó piezas de cerámica para la firma Bitossi, trabajó como arquitecto y empezó a desarrollar sus pasiones por la fotografía y la pintura.
No sería hasta 1956, a raíz de un viaje a Nueva York, que su carrera giraría decididamente hacia el diseño de productos.
En los años 60, mientras continuaba diseñando para Olivetti, Sottsass desarrolló una gama de objetos que eran expresiones de sus experiencias personales de sus viajes por los Estados Unidos y la India.
Estos objetos incluían grandes esculturas de cerámica y sus Superboxes, gestos escultóricos radicales presentados en un contexto de producto de consumo -como un enunciado conceptual– que fueron precursores de Memphis (que llegó más de una década más tarde).
“Yo no quería hacer más productos consumistas….” Él sentía que su creatividad estaba siendo sofocada por el trabajo corporativo y como resultado de esto su trabajo de finales de los años 60 a los 70 se caracterizó por las colaboraciones experimentales con diseñadores más jóvenes -como Superstudio y Archizoom Associati– y la asociación con el movimiento radical que culminó con la fundación del ya nombrado grupo Memphis.
Mientras que el movimiento Memphis, en la década de 1980, atrajo la atención mundial por su energía y extravagancia, Ettore Sottsass comenzó a montar una importante Consultoría de diseño que llamó Sottsass Associati.
El Estudio se estableció en 1980 y su práctica fue fundamentalmente la arquitectura, aunque también realizó trabajos de diseño para importantes empresas internacionales (muebles de todo tipo; tiendas de ropa para la firma Esprit; diversas identidades para Alessi, y electrónica de consumo en Japón).
En la actualidad Sottsass Associati tiene sedes en las ciudades de Londres y Milán y continúa con la filosofía y la cultura inicial con la que fue fundado.
Sottsass Associati (pág. web).
Ettore Sottsass y su famosa y emblemática estantería “Carlton” (1981).
AllABCDEFGHIJKLMNOPQRSTUVWXYZ
A
Alessandro Mendini
Alfredo Häberli
Alvar Aalto
Andrea Branzi
Andreu Carulla
Andy Martin
Antonio Citterio
Arend Groosman
Arik Levy
Autoban
B
Benjamin Graindorge
Benjamin Hubert
Boca do Lobo
C
Carlo Mollino
Charles Rennie Mackintosh
Charles y Ray Eames
Claudio Colucci
D
David Adjaye
Doshi Levien
E
Edward van Vliet
Eero Saarinen
Enzo Mari
Ettore Sottsass
F
Finn Juhl
G
George Nelson
Goula Figuera
H
Hermanos Campana
Hervé Van der Straeten
I
Inga Sempé
J
Jaime Hayón
Jasper Morrison
Joaquim Tenreiro
Joe Colombo
Jonathan Adler
K
Kelly Wearstler
L
Lex Pott
Ludovica y Roberto Palomba
M
Marc Newson
Marcel Breuer
Max Lamb
Michael Anastassiades.
Mies van der Rohe
N
Naoto Fukasawa
Nendo
Nigel Coates
O
Olivier Mourgue
P
Paolo Lomazzi
Patricia Urquiola
Pierre Paulin
Piet Hein Eek
Q
Quentin de Coster
R
Rodolfo Dordoni
S
Sacha Lakic
Scholten & Baijings
Seung-Yong Song
Simone Simonelli
Studio Job
T
Thomas Sandell
Toni Grilo
V
Verner Panton
Vico Magistretti
Vincenzo de Cotiis
Vladimir Kagan
W
William Sawaya
X
Xavier Lust
Y
Yrjo Kukkapuro
Z
Zanuso
from http://decorador.online/disenadores-destacados/ettore-sottsass/
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Une jeune femme sans fortune rencontre un riche aristocrate anglais, qui l’épouse. L’histoire tiendrait du conte de fées, si le souvenir de Rebecca, morte noyée dans des circonstances mystérieuses, ne planait… En 1939, sous la houlette du producteur David O. Selznick, Hitchcock débarqua aux États-Unis. Retrouvant l’atmosphère de la romancière Daphné Du Maurier, dont il venait d’adapter Jamaica Inn (L’Auberge de la Jamaïque), le réalisateur montra que les fantastiques moyens dont disposait Hollywood ne lui faisaient pas peur. II signa un nouveau chef-d’œuvre, inaugurant avec brio la grande série des thrillers psychologiques dont il est devenu le maître.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Mille neuf cent trente-huit. Hitchcock travaille depuis près de vingt ans dans le cinéma – les premiers cartons qu’il a dessinés pour la Famous Player-Lasky datent de 1921… Or, à l’orée des années 1940, le réalisateur n’a encore jamais mis les pieds aux Etats-Unis. Comment un cinéaste de son envergure peut-il se satisfaire des studios anglais, professionnellement bien inférieurs à ceux d’Hollywood ? Hitchcock lui-même se posera la question, car ce n’est pas l’envie qui lui en manquait, comme il le confiera : « J’avais des racines profondes dans le cinéma américain […]. Ne croyez pas que j’étais un fanatique de tout ce qui était américain, mais, pour le cinéma, je considérais leur façon de faire les choses comme réellement professionnelle, très en avance sur les autres pays. […] Je n’étais pas attiré par Hollywood en tant qu’endroit. Ce que je voulais, c’était entrer dans les studios et y travailler. »
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Peut-être Hitchcock voulait-il arriver à Hollywood fort d’une réelle expérience ? Quand il se décida à traverser l’Atlantique, le réalisateur avait déjà dirigé vingt-quatre films et travaillé sur une dizaine d’autres. Ses preuves étaient faites : de The Lodger (Les Cheveux d’or, 1926) à Young and innocent (Jeune et Innocent (1937), Hitchcock avait prouvé qu’il figurait au sommet de la production cinématographique britannique, mais aussi qu’il était capable de réaliser des chefs-d’œuvre du niveau des plus grands films du monde entier: Avec une telle filmographie, il n’était pas nécessaire pour Hitchcock d’aller à Hollywood : Hollywood viendrait à lui !
ON SET – REBECCA – Alfred Hitchcock (1940)
Effectivement, c’est bien ce qui arriva : « Pendant que je tournais The Lady Vanishes (Une Femme disparaît), j’ai reçu un télégramme de Selznick me demandant de venir à Hollywood pour tourner un film inspiré par le naufrage du Titanic. Je suis allé en Amérique pour la première fois après la fin du tournage de The Lady Vanishes, et je suis resté dix jours. C’était en août 1938. J’ai accepté cette proposition de film sur le Titanic, mais, mon contrat avec Selznick ne devant commencer qu’en avril 1939, j’avais la possibilité de faire un dernier film anglais. » Ce fut Jamaica Inn.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Pendant la réalisation de ce dernier opus britannique, les tractations étaient allées bon train avec David O. Selznick. Hitchcock devait être fier d’être contacté par un tel producteur – Selznick était alors le plus réputé des producteurs hollywoodiens, et les énormes moyens dont il disposait ne pouvaient que séduire le Britannique. Preuve de cette incontestable puissance, en 1939, quand Hitchcock débarqua aux Etats-Unis, Selznick était en train de produire l’immense fresque sudiste Gone with the Wind (Autant en emporte le vent, véritable symbole de la démesure hollywoodienne.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
« Moi, je préfère le livre. »
Avant de finalement s’arrêter sur l’adaptation du roman de Daphné Du Maurier, Hitchcock avait donc souhaité travailler à un film sur le Titanic. Ce projet abandonné, Selznick pensa un moment confier à son nouveau poulain la réalisation d‘Intermezzo, le premier film américain dans lequel allait jouer Ingrid Bergman. Finalement, ce fut Ratoff qui se chargea du projet, et Selznick annonça qu’il avait acheté les droits de Rebecca. Hitchcock accepta d’autant plus volontiers l’idée qu’il avait lui-même pensé adapter cette œuvre en Grande-Bretagne, avant de se rétracter devant le prix exorbitant des droits à payer… Le premier film américain du réalisateur débutait donc sous les meilleurs auspices. Il s’agissait de marquer un grand coup.
Joan Fontaine (née en 1917) sortit victorieuse du casting-marathon de Rebecca. De son vrai nom Joan De Havilland (sa sœur aînée, autre actrice célèbre, se prénomme Olivia !), la jeune femme obtint ici son premier grand rôle, avant de confirmer sa place de star en jouant dans Jane Eyre (R. Stevenson, 1944). Hitchcock lui demandera de donner la réplique à Cary Grant dans Suspicion (Soupçons, 1941).
Laurence Olivier (1907-1989), lui, n’avait pas attendu Hitchcock. Dès l’âge de 17 ans, il avait quitté Oxford pour Stratford, la ville de Shakespeare, dont il était devenu un brillant interprète. En 1939, il venait de triompher dans Wuthering Heights (Les Hauts de Hurlevent, William Wyler). Olivier sera fidèle à Shakespeare en passant derrière la caméra, réalisant un Hamlet resté fameux en 1948.
L’extraordinaire performance de Judith Anderson (1898-1992) interprétant Mrs Danvers inaugurait une longue série de femmes tourmentées évoluant entre le crime et la folie.
Le contrat avec Selznick ne précisait aucune date. Hitchcock profita de son arrivée aux Etats-Unis pour tâter l’ambiance de son pays d’accueil. Il visita New York et Miami. En mars 1939, il était à Los Angeles. Début juin, le réalisateur fit parvenir à Selznick une première version (très développée selon son habitude) de Rebecca. Selznick s’était fait discret depuis l’arrivée d’Hitchcock, aussi ce dernier pensait-il avoir toute latitude pour mener à bien sa réalisation selon ses propres vues. Quelle ne fut pas sa surprise quand, le 13 juin, il reçut de Selznick un de ses fameux mémos !
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Le courrier était si volumineux que, beaucoup plus tard (en 1969 !), Hitchcock ironisera ainsi : « Il était si long que je viens seulement d’en terminer la lecture. » Une phrase du mémo résumait toutes les annotations précises du producteur : « Nous avons acheté Rebecca et nous avons l’intention de tourner Rebecca. » Au yeux de Selznick, Hitchcock s’était trop écarté du roman et il fallait recadrer le scénario sur l’œuvre de Daphné Du Maurier. Le réalisateur s’exécuta, convaincu que “l’histoire des deux chèvres” portait sa part de vérité : « Deux chèvres sont en train de manger les bobines d’un film adapté d’un best-seller, et une chèvre dit à l’autre : “Moi, je préfère le livre.” ! »
ON SET – REBECCA – Alfred Hitchcock (1940)
Hitchcock et ses scénaristes s’attachèrent donc à suivre plus fidèlement le roman. Des adaptations furent cependant nécessaires. Ainsi, la grand-mère de Maxim disparut du scénario. Quant au code moral hollywoodien, il imposa de trouver une explication à la mort de Rebecca. Le crime de Maxim n’aurait, autrement, pas pu rester impuni. Le scénario prenait forme, ne manquaient plus que les acteurs .
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Trouver la perle
Le casting de Rebecca fut un des plus laborieux qu’ait jamais effectué Hitchcock Sans atteindre le délire que connut Hollywood pour trouver la Scarlett O’Hara de Gone with the Wind, il fallut néanmoins plus de trois mois, de mai à août, et de multiples auditions, pour dénicher la bonne Mrs de Winter. Heureusement, Hitchcock avait l’œil sûr, comme en témoignent ses notes à Selznick sur les candidates au rôle. Ainsi, Miriam Pattv : « Trop porcelaine chinoise. Elle devrait jouer le cupidon cassé. Trop fragile. » Majorie Reynolds ? « Pas du tout le type. Trop fille de gangster. » De même, Betty Campbell est « trop boîte de chocolats », Sidney Fox « trop effrontée » et Kathryn Aldrich « trop Russe ». La palme revenait à Audrey Reynolds : « Parfaite pour le rôle de Rebecca qu’on ne voit jamais. »
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Finalement, trois jeunes femmes sortirent victorieuses de l’épreuve : Joan Fontaine, Anne Baxter et Margaret Sullavan. De Baxter, qui avait à peine 16 ans, on redoutait qu’elle « ne puisse jouer les scènes d’amour à cause de son âge et de son manque d’expérience. » Sullavan fut un moment favorite. Finalement, Joan Fontaine se vit attribuer le rôle, bien qu’on jugeât qu’elle « [faisait] trop la sainte nitouche et minaudait d’une façon intolérable ». La jeune actrice fut même priée d’écourter sa lune de miel (elle venait d’épouser Brian Aherne) et de se tenir prête dès que le premier tour de manivelle serait lancé.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Le tournage débuta le 8 septembre 1939. Sept jours avant, le 1 er septembre, les chars allemands avaient franchi la frontière polonaise ; le 3, la France et la Grande-Bretagne déclaraient la guerre à l’Allemagne. Or, comme le signala Hitchcock bien plus tard : « Rebecca est un film britannique, complètement britannique ; l’histoire est anglaise, les acteurs aussi, et le metteur en scène également. » La situation internationale affecta le tournage, sur lequel travaillait une majorité d’Anglais. À tel point que, fin septembre, le réalisateur avait accumulé un retard alarmant.
Une fois n’est pas coutume, Hitchcock apparaît presque à la fin du film. Il figure un passant ordinaire, traversant derrière Favell. Le réalisateur s’était d’abord filmé attendant devant la cabine téléphonique qu’elle se libère, avant de se rabattre sur une apparition plus discrète. Le moment n’est pourtant pas anodin, puisque l’appel téléphonique va provoquer la réaction de Mrs Danvers et la destruction de Manderley.
Hitchcock, pourtant, prit soin de ne filmer chaque plan que sous l’angle qui servirait au montage, voulant éviter les prises alternatives. Le réalisateur, pour lequel un film était terminé quand son scénario était prêt, tant chaque élément du tournage y était soigneusement préparé, pouvait se le permettre. Cette technique présentait deux avantages non négligeables. Le tournage en était écourté et l’emprise du producteur sur le film au moment du montage s’en trouvait considérablement amoindrie. Hitchcock souhaitait garder le contrôle de son film et éviter au maximum que Selznick puisse y mettre son grain de sel.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Le tournage prit fin le 20 novembre 1939. Quelques prises supplémentaires furent réalisées en décembre. Le 28 mars 1940, Rebecca sortait sur les écrans américains. On savait, aux Etats-Unis, accueillir les nouveaux venus : Rebecca fut nominé pour 13 oscars ! Hitchcock pourtant ne fut pas primé lui-même. Deux oscars furent attribués à son œuvre : celui du meilleur film et celui de la meilleure photographie en noir et blanc. Comme le rappellera le réalisateur, cette année-là l’oscar de la meilleure mise en scène revint à John Ford pour The Grapes of Wrath (Les Raisins de la colère). Et Hitchcock de préciser : «. L’oscar [du meilleur film] est allé à Selznick. Je n’ai jamais reçu d’oscar. » C’était vrai en 1940, cela le restera jusqu’à la mort du réalisateur, en 1981.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Un conte de fées
Au réalisateur qui remarquait que, finalement, Rebecca n’était « pas un Hitchcock », François Truffaut répondait très justement : « Je crois que d’avoir à tourner ce film a été bon pour vous, comme l’aurait été un stimulant. Au départ, Rebecca était une histoire loin de vous, ce n’était pas un thriller ; il n’y avait pas de suspense, c’était une histoire psychologique. Vous avez été contraint d’introduire vous-même le suspense dans un pur conflit de personnages, et il me semble que cela vous a permis d’enrichir vos films suivants, et de la nourrir de tout un matériel psychologique qui, dans Rebecca, vous avait été imposé par le roman. » La remarque s’avère pertinente. En effet en s’emparant du roman de Daphné Du Maurier, Hitchcock s’obligeait à transposer son art du suspense dans un univers qui, à l’époque, ne lui était pas familier. Il transforma ainsi un drame psychologique en une œuvre à suspense remarquablement mise en scène. Le roman ne fut pas le seul bénéficiaire de ce tour de force. Hitchcock lui-même tira profit par la suite de l’expérience. Sans Rebecca, pas de Shadow of a doubt (L’Ombre d’un doute), pas de Birds (Les Oiseaux) ni de Psycho (Psychose), autant de films où le réalisateur nous plonge dans un thriller plus psychologique que policier. Avec Rebecca, Hitchcock faisait de l’élément psychologique un des moteurs centraux de son procédé narratif.
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Le film est construit comme un conte de fées. Ou plutôt, comme la suite d’un conte de fées, puisque l’histoire de Rebecca ne démarre qu’après le mariage du prince et de la bergère, de Maxim et de sa nouvelle femme. « l’héroïne, c’est Cendrillon », dira Hitchcock. Une jeune fille tellement anonyme qu’elle n’a pas de nom : jamais avant son mariage il ne sera prononcé et une fois mariée, elle sera toujours désignée comme “Mrs de Winter”, sans que son prénom ne soit dévoilé. Cette absence de patronyme renforçait, par contraste, le rôle de la mauvaise fée : Rebecca, qui hante la vaste demeure de Manderley. Paradoxalement, la présence de Rebecca est d’autant plus forte qu’elle est toujours absente. Pas une seule photo de la défunte ne vient donner corps à son personnage (et donc l’humaniser, en amoindrissant son aspect fantastique et diabolique).
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
La mauvaise sœur de Cendrillon, c’est Mrs Danvers, puissante figure diabolique comme les aime Hitchcock, qui annonce l’oncle Charlie de Shadow of a doubt ou Bruno Anthony de Strangers on a Train (L’Inconnu du Nord-Express). Comme ce dernier, Mrs Danvers a le don d’apparaître là où on l’attend le moins. Hitchcock précisa : « Mrs Danvers ne marchait presque pas, on ne la voyait jamais se déplacer. Par exemple, si elle entrait dans la chambre où était l’héroïne, la fille entendait un bruit et Mrs Danvers se trouvait là, toujours là, debout, sans bouger. C’était un moyen de montrer cela du point de vue de l’héroïne : elle ne savait jamais où était Mrs Danvers et c’était plus terrifiant ainsi ; voir marcher Mrs Danvers l’aurait humanisée. »
REBECCA – Alfred Hitchcock (1940) avec Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
Si Rebecca est bien un conte de fées, il est également un conte diabolique, thème fortement hitchcockien. C’est pourquoi ce film magistral, qu’Hitchcock signa en arrivant aux Etats-Unis, est un maillon essentiel pour appréhender l’œuvre américaine du réalisateur.
ON SET – REBECCA – Alfred Hitchcock (1940)
L’histoire
1 – Un rêve – Une jeune femme, en voix-off, nous promène en rêve dans le domaine de Manderley, une vieille demeure en ruines. Nous sommes ensuite transportés à Monte-Carlo. Un homme s’apprête à sauter du haut d’une falaise. Il est interrompu par une jeune femme. À l’hôtel, Mrs Van Hopper, pour qui elle travaille, lui apprend qu’il s’agit de Maxim de Winter, propriétaire de Manderley, veuf inconsolable.
2 – Monte-Carlo – La jeune femme, dont on ignore toujours le nom, rencontre Maxim de Winter au restaurant de l’hôtel où elle déjeune seule, car Mrs Van Hopper est malade. Il l’invite à sa table et apprend qu’elle s’est mise au service de Mrs Van Hopper, comme dame de compagnie, après la mort de son père. Les rencontres se multiplient. La jeune femme est manifestement amoureuse, lui reste secret et, parfois, irascible.
3 – Demande en mariage – Mrs Van Hopper apprend que sa fille va se marier, et qu’elle doit retourner à New York immédiatement. Les préparatifs de départ s’accélèrent, pendant que la jeune femme tente de prévenir Maxim. Le suspense augmente jusqu’au moment où Mrs Van Hopper s’installe dans la voiture qui doit les conduire à la gare. Finalement, la jeune femme parvient à prévenir Maxim de Winter in extremis. Maxim propose alors de l’épouser.
4 – Mariage éclair – Le mariage a lieu rapidement, sur la Côte d’Azur. Maxim et la nouvelle Mrs de Winter rejoignent ensuite Manderley. L’accueil impressionnant réservé au couple par le personnel nombreux de la maison intimide la jeune mariée, qui a du mal à s’imposer comme la nouvelle maîtresse de maison, notamment face à Mrs Danvers, la gouvernante qui semble régner en maîtresse sur la demeure.
5 – Visite familiale – La sœur de Maxim et son mari rendent visite aux de Winter. La mariée s’aperçoit qu’on la prend pour une arriviste. Elle est surtout troublée par les allusions à l’ancienne femme de Maxim, Rebecca, qui irritent son mari sans qu’elle en connaisse la vraie raison. Lors d’une promenade aux environs de la riche demeure, elle découvre une maisonnette sur la plage. Malgré sa demande, Maxim refuse de s’y rendre…
6 – Mariage heureux… – Mrs de Winter tente d’en savoir plus sur Rebecca auprès de Frank, le comptable de Maxim, qui se montre gentil à son égard. Elle compte sur une robe venue de Londres pour tenter de rivaliser avec l’ancienne femme de son mari, lequel s’en étonne. Chacune des tentatives de Mrs de Winter pour se rapprocher de Maxim s’avère malhabile et provoque l’éloignement de son mari, repoussé vers ses souvenirs et un passé qu’elle ignore.
7 – La chambre hantée – En l’absence de Maxim, un cousin de Rebecca, Favell, vient discrètement à Manderley pour y voir Mrs Danvers. Il rencontre Mrs de Winter, qui se rend ensuite dans la chambre de Rebecca, inhabitée mais soigneusement entretenue par Mrs Danvers. Les deux femmes s’y retrouvent. Mrs de Winter est effrayée par le fanatisme de Mrs Danvers pour Rebecca. Elle se reprend et demande à Maxim d’organiser un bal à Manderley.
8 – Le bal costumé – Alors que les premiers invités du bal arrivent. Mrs de Winter se présente dans une robe inspirée d’un portrait de famille des de Winter, conseillée par Mrs Danvers. À sa vue. Maxim éclate. Elle comprend que la gouvernante lui a propose ce costume parce que Rebecca l’avait porté et elle tente de s’expliquer avec elle. Mrs Danvers, jouant avec ses nerfs, l’incite au suicide. Une fusée de détresse jaillissant dans le ciel met fin à la scène.
9 – Naufrage – La fusée annonçait un naufrage. Tous les invités se précipitent dehors et se portent au secours des naufragés. Frank apprend à Mrs de Winter qu’un plongeur visitant l’épave a retrouvé le bateau sur lequel Rebecca s’était noyée. La jeune femme rejoint son mari. Maxim lui apprend qu’on a également retrouvé le corps de Rebecca à l’intérieur de l’épave. Il l’y avait mis lui-même, avant d’identifier sciemment un autre corps comme étant celui de sa femme décédée.
10 – Amour ou haine – Maxim raconte sa vie avec Rebecca : elle le trompait, il la détestait et, lors d’une dispute où elle affirmait être enceinte d’un autre, il l’a tuée accidentellement avant de la transporter sur un bateau qu’il a ensuite coulé. Mrs de Winter découvre que c’est le souvenir de cette mort qui hante son mari.
11 – Nouvelle enquête – Maxim se rend à la morgue pour identifier le corps trouvé dans l’épave. Il s’agit bien de Rebecca. Une nouvelle enquête est donc ouverte, menée par le Colonel Julyan. Le policier affirme à Maxim qu’il a pu se tromper lors de la première identification et que l’enquête est une simple formalité.
12 – Au tribunal – Les témoins défilent devant les juges pour déterminer la cause de la mort. Le constructeur du bateau affirme que le navire a été sabordé. Quand vient son tour, Maxim se montre tendu et répond rudement aux questions. La nouvelle Mrs de Winter s’évanouit, ce qui interrompt l’interrogatoire.
13 – Chantage – Favell retrouve Maxim et sa femme dans leur voiture. Il affirme posséder une lettre de Rebecca dont la teneur écarte toute possibilité qu’elle se soit suicidée. Il menace à demi-mot Maxim de l’accuser du meurtre de sa femme. Maxim fait appeler le Colonel Julyan.
14 – Le mobile du crime – Devant Julyan et les de Winter. Favll accuse Maxim : Rebecca était enceinte de lui. Maxim l’a tuée. Mrs Danvers est appelée pour livrer le nom du médecin londonien de Rebecca qui selon Favell confirmera ses dires. Apprenant que Rebecca a peut-être été tuée. la gouvernante donne le nom.
15 – Erreur de diagnostic – Chez le médecin, l’équipe découvre que Rebecca le consultait sous le nom de… Danvers ! Retournement de situation : le médecin révèle qu’elle était atteinte d’un grave cancer. L’hypothèse du suicide s’impose. Favell prévient par téléphone Mrs Danvers de la maladie de Rebecca.
16 – La fin de Manderley – Sur la route qui le ramène avec Frank à Manderley. Maxim entrevoit une lueur étrange. Manderley est en flammes. Mrs Danvers a mis le feu à la demeure. Tous ses occupants sont sortis. Elle seule reste à l’intérieur et périt dans les flammes qu’elle a provoquées.
Fiche technique du film
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ALFRED HITCHCOCK : Un anglais bien tranquille (période 1899-1929)
ALFRED HITCHCOCK : Sur la piste du crime (période 1929-1939)
ALFRED HITCHCOCK : Hollywood et la guerre (période 1940 – 1944)
ALFRED HITCHCOCK : Expérimentations (période 1945 – 1954)
Les films d’Hitchcock sur Mon Cinéma à Moi
THE LODGER – Alfred Hitchcock (1927)
THE 39 STEPS – Alfred Hitchcock (1935)
SABOTAGE – Alfred Hitchcock (1936)
THE LADY VANISHES– Alfred Hitchcock (1938)
JAMAICA INN – Alfred Hitchcock (1939)
SHADOW OF A DOUBT (L’ombre d’un doute) – Alfred Hitchcock (1943)
NOTORIOUS – Alfred Hitchcock (1946)
THE PARADINE CASE (Le Procès Paradine) – Alfred Hitchcock (1947)
STRANGERS ON A TRAIN– Alfred Hitchcock (1951)
DIAL M FOR MURDER (Le crime était presque parfait) – Alfred Hitchcock (1954)
REAR WINDOW (Fenêtre sur cour) – Alfred Hitchcock (1954)
TO CATCH A THIEF – Alfred Hitchcock (1955)
VERTIGO – Alfred Hitchcock (1958)
NORTH BY NORTHWEST (La Mort aux trousses) – Alfred Hitchcock (1959)
TORN CURTAIN (Le Rideau déchiré) – Alfred Hitchcock (1966)
https://vimeo.com/370837911
Une jeune femme sans fortune rencontre un riche aristocrate anglais, qui l'épouse. L'histoire tiendrait du conte de fées, si le souvenir de Rebecca, morte noyée dans des circonstances mystérieuses, ne planait... En 1939, sous la houlette du producteur David O. Selznick, Hitchcock débarqua aux États-Unis. Retrouvant l'atmosphère de la romancière Daphné Du Maurier, dont il venait d'adapter Jamaica Inn (L'Auberge de la Jamaïque), le réalisateur montra que les fantastiques moyens dont disposait Hollywood ne lui faisaient pas peur. II signa un nouveau chef-d'œuvre, inaugurant avec brio la grande série des thrillers psychologiques dont il est devenu le maître. Une jeune femme sans fortune rencontre un riche aristocrate anglais, qui l'épouse. L'histoire tiendrait du conte de fées, si le souvenir de Rebecca, morte noyée dans des circonstances mystérieuses, ne planait...
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