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...rather claustral kind, but atmosphere just the same -- bathe the bodies and unify them as objects in the world while threatening always to dissolve them as emblems of personality. The surfaces look as if they came via Philip Guston from Monet, picking up some of Giacomo Balla's futurist dissections of light particles along the way -- a sober flicker in which images flash and are gone like the sides of fish in dark, weedy water...

Author: /time Magazine | Title: Art: Spectral Light, Anxious Dancers | 11/9/1987 | See Source »

...acrobatic twisting, leaping and rolling with which Ramey depicts the devil's discomfiture at the end of Arrigo Boito's Mefistofele is one of the most breathtaking spectacles in contemporary opera performance. European companies clamor for his services; two summers ago, the Paris Opera staged a vivid production of Giacomo Meyerbeer's 19th century spectral curiosity, Robert le Diable, just...

Author: /time Magazine | Title: Music: Giving The Devil His Due | 6/8/1987 | See Source »

Having raised up the Castel Sant'Angelo from the depths of the Metropolitan Opera in Tosca and put half of Paris onstage for La Boheme, Franco Zeffirelli must have felt some pressure to top himself with his new production of Giacomo Puccini's Turandot. Curious first-nighters, proud holders of the toughest opera ticket of the season, entered the Met last week wondering how far the director's passion for outsize verisimilitude would extend. Would he cut off the Prince of Persia's head and stick it on a pole? Build the Great Wall of China? Or (gasp!) actually respect...

Author: /time Magazine | Title: Franco Zeffirelli in Chinatown and a new Turandot at the Met | 3/23/1987 | See Source »

...MOST SUCCESSFUL MARRIAGE That of Giacomo Puccini and Kiri Te Kanawa; his music and her voice gave A Room with a View the year's loveliest sound track...

Author: /time Magazine | Title: Show Business: Most of '86 | 1/5/1987 | See Source »

...until around 1925. The movement took an aggressively internationalist stance, looking to a future world unified by technology. Yet its rhetoric was bedded deep in Italian life. The core of the futurist group, which coalesced in the early 1900s, was made up of the painters Umberto Boccioni, Carlo Carra, Giacomo Balla, Luigi Russolo and Gino Severini, the architect Antonio Sant'Elia and a few writers clustered around the figure of Marinetti, poet, dandy, ringmaster, publicist and red-hot explainer to the global village -- "the caffeine of Europe," as he called himself. They were all Italian; to be Italian then...

Author: /time Magazine | Title: Art: Kill the Moonlight! They Cried | 8/4/1986 | See Source »

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