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...same person, Giancarlo del Monaco, one of the busiest directors around. Del Monaco, 51, is opera royalty: his father Mario was a thrilling, heroic tenor of the 1950s. Giancarlo speaks-or more often shouts-five languages. He knows all the operas, even works like Fedora and Francesca da Rimini, by heart because he spent his childhood in the wings. He also knows the stress points; when his father sang, his mother used to stand behind the boy with her hand on his shoulder; when the hard parts came, her grip tightened...
Months later, Jiazhen returns to Fugui with their new son. Youquing. With a familiy to support, Fugui needs a job. He approaches the crafty Long'er, played by Ni Da Hong, in the hopes of starting a business. Miserly Long'er lives in the house he won from Fugui's familiy, and declines to lend his former rival any money. Instead, he gives Fugui a chest of shadow puppets which become his occupation and his salvation...
...record $30.8 million was paid today for a 72-page Leonardo da Vinci manual by an anonymousauctionbidder today, more than double the amount the book was expected to fetch. The 485-year-old codex contains scientific diagrams on astronomy, geography, geology and hydraulics, including advice on flood control. The work -- sold by Christie's America to a bidder phoning it in -- was acquired for $5.6 million by oil tycoon Armand Hammer in 1980.Post your opinion on theArts & Culturebulletin board...
...desire to charge ahead, Ito quashed a motion by the prosecution to defer the jury selection until after a hearing on the admissibility of DNA evidence in the case. The DA's office had asked for the delay because they could then pick a jury "untainted" by any media coverage of DNA results that come out in the hearing -- a well-known prosecution ploy, says TIME Law Reporter Andrea Sachs. "They don't want the jury to hear any of the outside information. They want a sequestered jury," says Sachs. "A sequestered jury is often a hanging jury...
...DA: Yes, Ax's solo parts made me think he was playing cadenzas for some Romantic concerti; when the rest of the continuo (which they might rightly be called) come back in, you're left wondering where the rest of the orchestra went. In the fervid parts of the Schumann, their sound had none of the immediacy...