Word: coquettish
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Dates: during 1950-1959
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...Verdi's consumptive heroine, she demonstrated last week that her acting is almost as good as her voice. Strikingly handsome in a hoopskirted, bare-shouldered, pink ball gown, she made the Violetta of Act I into a moving figure of feverishly hectic gaiety. As the opera progressed, the coquettish attitudes gave way gradually, until by the final act Violetta emerged as a woman of tragic stature. Throughout, the radiant, controlled voice lent a superb air of emotional conviction to the great arias...
Gradually the prison assumes the aspect of the world-a world in conspiracy to mock the prisoner's hopes and humble his humanity. The prison director's daughter, a kind of pre-Lolita of coquettish innocence, promises to lead him to freedom but never does; the jailers themselves stage an elaborate comedy only to laugh at his false hopes for escape. His past life emerges as a base and saddening farce-his bastard birth, his sluttish wife, his crippled, oafish children who are not really his. And always there is the maddening Alice-in-Wonderland logic by which...
...Giocondo had had any idea of the lengths to which critics would go in trying to explain her enigmatic smile in Leonardo da Vinci's famed portrait, she might have split her sides laughing. For in 450 years the smile has been variously interpreted as sly and tender, coquettish and aloof, cruel and compassionate, seductive and supercilious. At Yale University last week an eminent British physician, visiting professor of the history of medicine, coolly swept aside all such adjectives and offered his own theory: the lady was smiling with "placid satisfaction" because she was pregnant...
Both the young wife and the actress are played by the wonderfully versatile Jane Cronin, who shifts from coquettish innocence to sophisticated directness. Edward Zang as the poet, is also outstanding in extracting the most out of probably the best lines in the play. Richard Galvin brings a well-trained talent to the part of the inhibited young gentleman and Roz Faber and Mary Weede give appropriate spirit and mock innocence to their roles...
...production, a masterful combination of "theater" with "opera," brings new energy to the stage, and the principles well fulfill Mr. Goldovsky's goal by adding acting ability to singing talent. Kenneth Smith is dashing and powerful at the Don, who is humorously charming, clear voices, particularly the coquettish Joan Noynagh (Zerlina) and Adele Addison (Donna Anna...