March 30, 2009

OutTake – All Together

“OutTake” is a series of work originally shot in 1984 and re-photographed in 2008. These new photographs, taken of Polaroid lighting tests from the original sessions, are intended to be seen as a strip and have been posted on TQ in sequence starting from right to left. The aging Polaroid gel remnant gives each “new” print a particular frame and focus. OutTake identities have a matter-of-fact quality. They lack the, “psychological insight” to which the original, formal, silver prints had aspired. The unique identiy of the sitter has been supplanted by the unique identity of the print. Released from their original agenda, these new portraits become free to take their place alongside “no one”.            Click on the Photo to Enlarge.

“Now we distrust depths, interiors, hidden truths. Meanings lie on the surfaces, artefacts of an occasion rather than truths about persons….
Sophisticated looking at photographs now wants the inscription within the image of signs of its making, marks of its being a photograph after all and not a timeless truth.” _ Alan Tractenberg, 2000

© Nancy Cantwell

Bookmark and Share

March 28, 2009

OutTake – Shinzen Young

© Nancy Cantwell

Bookmark and Share

March 27, 2009

OutTake – Edith Morgan

© Nancy Cantwell

Bookmark and Share

March 26, 2009

OutTake – Stephen Reichard

© Nancy Cantwell

Bookmark and Share

March 25, 2009

OutTake- Blonde Youth

© Nancy Cantwell

Bookmark and Share

March 24, 2009

OutTake – Molly Rhodes

© Nancy Cantwell

Bookmark and Share

March 23, 2009

OutTake – Ken Cohen

© Nancy Cantwell

Bookmark and Share

March 20, 2009

Pleasure’s Exhortation

3_medIf you have never experienced Cecilia Bartoli live then you may have missed the whole drama. There is such an infectious exuberance in her performances. She is manifestly compelling. I have been looking for a video that does her justice, but as much as I may enjoy the looking, the listening pales. So let me offer you this,  Pleasure’s Aria from Handel’s Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Enlightenment). Opera Proibita, Cecilia Bartoli, les Musiciens de Louvre — Grenoble, Marc Minkowski. 2005 Decca Music Group

This 18th century allegorical oratorio, libretto by Benedetto Pamphilj, in which Time and Enlightenment gradually persuade Beauty to relinquish her attraction to the transitory joys of Pleasure, feels quite…contemporary.

HANDEL
Come nembo che fugge col vento

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Pleasure’s Aria
Il Trionfo del Tempo e del Disinganno

As a cloud that flees with the wind,
Stern and angered I flee from you.
If deceit is all my substance,
How can I live in Truth?

Aria de Piacere
Il Trionfo del Tempo e del Disinganno

Come nembo che fugge col vento
Da te fuggo sdegnato e serero.
Se l’inganno e il mio solo alimento
Come viver io posso ne Vero?

Libretto by Benedetto Pamphilj

Bookmark and Share

March 18, 2009

Paris, RTW, Fall 2009

Lavin offers up the best of black for Fall 2009. Waists are wasp thin and the cloth, cut on the bias, creates relaxed pleats that spill over hips. I love Alber Elbaz’s comment of being a designer “realist”, of using “technique that is easier and more relevant”. An economy of means, succinctly said and deftly accomplished. Truly appropriate for the times ahead. Now, the largess of the necklace really works to set off the clothes and add glamour vs. at the Marni collection where they just felt immoderate.

This Dries Van Noten show is dreamy. The hunter green coat over the red skirt with those sunglasses elicits such an emotional response from me. A look that harkens back to my mother’s era perhaps. Reminiscent of the first blush (brush) of technicolor film. You are won over by these significant colors. Mark here the first taste of pink and green. A color pairing that will linger. Now come the prints. Sophisticated, cubist, a re-imagined garden where lepoard and snake prints roam freely amidst the foliage.

Ooh La Lagerfeld. Chanel is such a spectacular! High contrast, high collared intricate vestiments that give way to extreme plunging necklines and deco geometric catsuits. Big punctuations of pink and green that work head to toe. For me though, it is the beautifully detailed, ornate, variations on the cuff, drawing the eye to jade gems of worthy proportions. Uber Chanelness.

Bookmark and Share

March 17, 2009

Six Martinis

The blogosphere is a wonderful thing. I found Sixmartinis and the Seventh Art in my search for a decent picture of the Peter Maloney 4th Street Draw Bridge in San Francisco.

Here is her blog’s raison de être — ”What is the Significance of SIXMARTINIS? in the movie THE BIG KNIFE, Shelley Winters holds all the secrets- and she’s been drinking. Jack Palance is worried that she’ll find her voice with her sixth martini. This is my voice.”

Having not found the photographs I want, I am now inspired to return to S.F. and wait for the bridge to open so I can photograph that counterweight in action. Meanwhile, via Sixmartinis, I can catch up with some old films like, Schatten – Eine nachtliche Halluzination (1923), aka Warning Shadows, directed by Arthur Robison, cinematography by Fritz Arno Wagner and art direction by Albin Grau or Five (1951), directed by Arch Oboler, cinematography by Sid Lubow, and Louis Clyde Stouman, architecture by Frank Lloyd Wright.

Bookmark and Share

March 15, 2009

Luther, A Tribute

 

LUTHER  

Other names:

Luther, THE dog
“BGM” (Big Giant Monster)
Lothar the Magnificent
Fartmeister
Pooch de la booch, de la hootch, de la cootch
Cur
Big Bezungenungen

You loved being petted on the stomach and butt,
going for walks in Griffith Park, and riding in the car.

You loved men, especially Kirby and Joey, and almost
all workingmen.

Your walks around the block resembled stations of the cross,
with you pausing to savor and seeming to pray
at a discreet and unvarying selection
of gates, posts, trees and stairwells.
Occasionally you would find a fig leaf–a favorite forage–or fresh tender spring grass.

Your ferocious yet sad appearance brought smiles
to many strangers, and you loved their compliments
and attention, tossing your head, bouncing and snorting
in a terrifying way..

You had a special skill in triangulation.
When people visited us at home, you would manage to find
the exact central point between them, and lie down there.

Thunder, gunfire, and the Fourth of July were terrifying to you.

You never learned to properly greet visitors.

Your job was to guard us,
although the mission was never tested–
I guess you did your job.

Your face always made me smile.

Rita 

 

My mom and I picked him up from John Steppling’s house and took him home with us. He was tiny and soft, like a cat. In the midst of my cooing and oohing and awing on the car ride home he promptly crapped in my lap. That first night my parents went out and Joey and I were left to care for him. I put him in the bathtub with some newspaper and towels and tried to sleep but he started crying so I brought a sleeping bag down there and slept with him. That was the last night he cried.

He grew relatively quickly, but never quite lost his puppy-ness, meaning he wasn’t the most well-behaved dog. He didn’t play fetch, he was more into tug-of-war, and he wouldn’t hesitate to snarl and bite if you were winning (or if you seemed like you had any intention of winning). This was something I learned to appreciate about Luther: he never really was domesticated. He taught me to respect animals as animals and not to treat them like small children or stuffed toys.

In teen-angsty moments sometimes I’d stare into his eyes, convinced that he could read what I was thinking. This may just be some stupid projection, but there was some sort of tired intelligence behind those expressive eyes of his, and sitting with him or going on walks around the neighborhood did help me to feel better.

Throughout college he’d greet me with excitement every time I came home. People can fake excitement, but there’s nothing quite like having an animal get excited to have you home after months away. On one of my last days of my last LA visit we took him out to Point Dume, my favorite beach. We walked over the Point, where I’d never actually been, and the sky was so clear we could see up and down the coast. We hiked down to the tide pools and let him off the leash where he excitedly ran between my mother, father, and I, almost herding us. When we all walked back up the stairs toward the car he wouldn’t move until he saw that we were all there, walking with him.

Lena

Luther, an American Bulldog was born around March 1998 and died Saturday, March 14, 2009 

Bookmark and Share

March 13, 2009

Snake Oil

I am no politico, but who can turn aside when the message is so clear? And what better agent than John Stewart?  Stewart has the voice, the platform, the balls and the brains. I feel a sense of relief that what I knew, but could never articulate…as snake oil does, so snake oil begets.

Andrew Sullivan writes:

What Cramer walked into was an ambush of anger. He crumbled from the beginning. From then on, with the almost cruel broadcasting of his earlier glorifying of financial high-jinks, you almost had to look away. This was, in my view, a real cultural moment. It was a storming of the Bastille. It was, as Fallows notesjournalism.

Bookmark and Share

March 12, 2009

WDCH

 

Bookmark and Share

March 11, 2009

Matthias Goerne Interview – Playlist

Jim Svejda

Jim Svejda

We are very lucky here is Los Angeles to have as an evening radio host Jim Svejda. His impeccable taste, intelligent musings and incredible depth of knowledge of classical music and film make his weekly show the Record Shelf required listening. On January 13th, 2009 we were treated to a full four hour interview with German Baritone Matthias Goerne.

Matthias Goerne

Matthias Goerne

 

 

 

I have seen Goerne in recital on several occasions and own a fair share of his recordings. Matthias Goerne, along with Wolfgang Holzmair and Thomas Quasthoff  have emerged as today’s foremost interpreters of the German baritone repertoire and art song. Many compare Goerne’s lieder execution with that of his teacher, Dietrich Fischer- Dieskau, but I prefer Goerne’s intensity and operatic prowess over Fischer-Dieskau’s nuance. 

Here is a track form Franz Schubert’s Goethe Lieder. The haunting Erlkönig, a dark tale of abduction and death of an innocent.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

From the Record Shelf with Jim Svejda — Matthias Goerne Playlist

WOLFGANG AMADEUS MOZART: The Magic Flute: Der Vogelfanger bin ich ja
SWR Vokalensemble Stuttgard / Manfred Honeck
Matthias Goerne, baritone
London 467263 
 
WOLFGANG AMADEUS MOZART: The Magic Flute: Ein Madchen oder Wiebchen
SWR Vokalensemble Stuttgard / Manfred Honeck
Matthias Goerne, baritone
London 467263 
  
FRANZ SCHUBERT: Selected Lieder
Matthias Goerne, baritone
Eric Schneider, piano
Harmonia Mundi 902006 
 
HUGO WOLF: 4 Orchestral Songs
Royal Concertgebouw Orchestra / Riccardo Chailly
Matthias Goerne, baritone
London 458189 
  
JOHANN SEBASTIAN BACH: Cantata No.82: Ich Habe Genug BWV 82
Camerata Academica / Sir Roger Norrington
Matthias Goerne, baritone
London 466570 

HANNS EISLER: Holderlin-Fragmente
Matthias Goerne, baritone
Eric Schneider, piano
London 460582 
 
FELIX MENDELSSOHN: Paulus: Part I Finale Op. 36
Champs-Elysees Theater Orchestra / Philippe Herreweghe
Matthias Goerne, baritone
La Chapelle Royale Chorus
Collegium Vocale Chorus
Harmonia Mundi 901584 
 
ROBERT SCHUMANN: Selected Lieder
Matthias Goerne, baritone
Eric Schneider, piano
London 4576012 
 
LUDWIG VON BEETHOVEN: An die ferne Geliebte Op. 98
Matthias Goerne, baritone
Alfred Brendel, piano
London 4756011 

FRANZ SCHUBERT: Winterreise D 911
Matthias Goerne, baritone
Alfred Brendel, piano
London 467092 

GUSTAV MAHLER: Des Knaben Wunderhorn: 5 Songs
Royal Concertgebouw Orchestra / Riccardo Chailly
Matthias Goerne, baritone
London 29 
  
WOLFGANG AMADEUS MOZART: Don Giovanni: Deh vieni alla finestra K 527
SWR Vokalensemble Stuttgard / Manfred Honeck
Matthias Goerne, baritone
London 467263 
  
RICHARD WAGNER: Tannhauser: Wie Todesahnung Dammrung
SWR Vokalensemble Stuttgard / Manfred Honeck
Matthias Goerne, baritone
London 467263 
  
ERICH WOLFGANG KORNGOLD: Die Tote Stadt: Mein Sehnen, mein Wahnen
SWR Vokalensemble Stuttgard / Manfred Honeck
Matthias Goerne, baritone
Swedish Radio Choir
London 467263

Bookmark and Share

March 10, 2009

Let The Right One In _ Film Commentary by Rita Valencia

Let The Right One In [Låt den rätte komma in]

mv5bmjawodgymzuxmv5bml5banbnxkftztcwmduyntq5mq_v1_cr800325325_ss100_
It is the cold deep winter of northern Sweden. Snow falls upon the well-kept, charmless suburb of Blackeberg.  An old man is covering the windows of his apartment with a patchwork of corrugated cardboard, some of it with chunks of advertising left on. Inside, he readies a set of very used equipment for a grisly mission, to provide fresh human blood for the young vampire who is his “daughter”.  In the same building lives a young boy and his mother. The child is 12-year-old Oskar, (Kåre Hedebrant) a gentle, introverted, and highly intelligent boy, with flaxen hair and an angelic face. At school, he is the perfect mark for a group of bullies who taunt and humiliate him. Later, in the courtyard of his apartment, he acts out his anger by viciously stabbing a tree. Here he meets Eli, (Lina Leandersson) a strange young girl who is his neighbor, and their love story begins.

 According to medieval legends, the north is the land where witches and all manner of evil spirits originate. The cold North is first character of this tale, from a novel by John Ajvide Lindqvist, which owes much to the spirit of Hans Christian Andersen at his most chillingly tender. There is something reminiscent of Andersen’s The Snow Queen in the seductive and gentle aspect of evil, which nestles close to the beautiful innocence of first love in the midst of a world where the ice is a metaphor for a soul not quite dead but in frozen suspension. Filmmaker Tomas Alfredson is attuned to the mesmerizing filmic power of snow and ice; of glass, of water and of the dark. (Production of the film was moved to Luleå in the north of Sweden to capture the snowier winter there.) Stylistically, the film inspires all the usual clichés such as tour de force, etc. The quotidian qualities of murder and violence are treated with a disciplined and sensitive eye, trained in tableau and composition by the likes of Dreyer; and a sensibility steeped in the textual symbolism of Bergman. The steamy warmth of indoor swimming is contrasted with the frozen ice of a snowy river. The ice and snow literally blanket and encrust horrific crimes. The glass, cousin symbol to ice (see the film excerpt) functions as separation and reflection; it is a symbol which deeply resonates, given a vampire’s relation to glass as a purveyor and reflector of light. Glass can be the vampire’s worst enemy, but ice and snow, treacherous to humans, are to the vampire harmless allies.

The unrelenting menace of cold and ice is the first to be dispelled by the magical Eli, a 12-year-old vampire who wanders around at night in a light tee shirt and does not shiver.  Hers is an extraordinary isolation, interrupted only by brief violent interludes wherein she attacks this or that robust victim to feed on their blood; but to the innocent Oskar she is a kindred soul, an outsider who represents, in her seeming independence, the sort of empowered being that Oskar wishes to be. She quietly amazes the lonely boy, who begins his subtle transformation to manhood soon after they meet. He aspires to physical strength, dreams of retribution against his enemies, and at her instigation, he bashes one of his tormenters in the head, sending the boy to the hospital (and setting up the final ghastly scene). Gradually the two children come to trust and love one another, even as the macabre violence of Eli’s feeding regimen proliferates. The man who is supposedly “her father”–although she has been twelve for “a very long time”, maybe forever–dies a spectacularly horrific yet voluntary death once it becomes clear he can no longer be of help in sustaining Eli’s life. This turn of events makes it necessary for Eli to leave town, and briefly, it seems that Oskar may have outgrown her. As it turns out, she makes a brief but fortuitous return, the two go off together, and we the audience are happy for them, even as we are horrified.

This is a quiet film that uses understatement in a sophisticated and drole manner. There are murders, and blood, but the focus stays calmly upon emerging love between Oskar and Eli. Is it innocent and “beautiful” or demented and cruelly exclusive?  Does this love engender a kind of deeply poetic justice or a perverse revel in retribution? The powers of this fairytale are given great psychological breathing space by allowing silence and space and eschewing the American tendency to edit for shock and gasp. As a play of the unconscious, this story can be read as dream, where Eli is an imagined figure of the charming weakling Oskar, reflecting his desire to wreck havoc and revenge on the cruel and powerful boys who torture him. Like every good horror movie, there is a deeply disturbing aspect to the blood curdling satisfaction that is Oskar’s as the film closes, for he has come out on top only to lose his soul. Thus, the deeply moral rigor that gives all fairytales their power, demonstrates to us the innocent charm and alluring mask of love, while intimating of this gentle love’s unquenchable thirst for blood.

Bookmark and Share

March 9, 2009

Milan, Ready to Wear, Fall 2009

I spent some time really looking at last weeks fashion shows in Milan. I usually just flip through the first couple of outfits and move along as most of the time, well I just get over it quickly. But now that I have this platform from which to speak, I decided to put some backbone into it. 

So here you have a fashion flight. But before you dig into these clips, here are some words you just need to block out, because none of it rings true. Investment Dressing, Investment Pieces, and, the worst, Value Added. I think Hamish Bowles says it best, “Its all about creating desire in this climate”…. creating the illusion of timelessness.

Bottega Veneta, designer Tomas Maier, delivers a cool collection with butter leathers and easy to wear gowns, but what is he doing with breasts? I love the first white coat and can anyone really get enough of Bottega bags and shoes…I think not.

Next up is Burberry, designed by Christopher Bailey. I covet most of this collection. I could wear it all. Easy to put on. Love the fur collar, love the wool collars. Love the full skirted floral dress. True to the Burberry name, all thing trench can get a bit wearisome, but that is coming from a place (Los Angeles) where weather wise a trench is rarely appropriate dressing fodder. I do run around San Francisco cinching my waist and turning up my collar. But here, alas, most of the time they sit in my closet unaware of any real purpose they have beyond hanging. See the great piece on Bailey in T Magazine — Men’s Fashion Spring 2009.  http://www.nytimes.com/indexes/2009/03/08/style/t/index.html#pageName=08collage

Roberto Cavali is usually all floral and animal prints and way too much of it for the most part. Not so this year…this is the stuff glam rock dreams are made of. By far the sexiest stuff of the season. The boots are leggings and the skirts are knife folded napkins made of chain mail. These girls are not just having all the fun they are making all the fun. Short furs, short jackets, short skirts and the long leg silhoutte. The energy seems pitch perfect here. Lots of forward motion, lots of working it attitude. My favorite show by far of Milan.

I want to like this Marni show by Consuelo Castiglioni. I keep looking and think, “I always want something Marni”, but I just cannot seem to embrace the Marni credo of this time. I don’t like the palette, I hate the pants and the whole thing feels heavy. It tries too hard and can’t get out of its own way. That being said, the furs are fabulous and the gloves are right. Well, maybe I do want that one slim suit with the beaded jacket. OK, that feels better.

Bookmark and Share

March 6, 2009

Werner Herzog, February 20, 2009, Royce Hall, UCLA — Part 3

9news-herzog-2bg-1

Werner Herzog continued“What I Learned”:

Part 3

OK, here comes the fun part! 

Herzog shows footage from his oscar nominated Encounters at the End of the World. I feel a total disconnect between up and down. Had the explorers not been wearing wetsuits and flippers, had I not watched the bubbles of air float up, I would swear that we were looking back at earth from the moon. Are we on top of the world looking down or reveling in an enchanted abyss? Once you have oriented you realize that indeed these aquatic astronauts have entered this underworld via a 30 foot shaft drilled into the Ross Ice Shelf, Anatartica

Back on dry ground or high ground, Herzog talks about man’s ability to fly and freedom. A collective dream if ever there was one. He shows clips form his “The Great Ecstasy of Sculptor Steiner” (1975) the hypnotic study of Swiss ski-jumping champion Walter Steiner. Now granted Steiner never wore a parachute…

But we’ve come a long way baby!!! These guys below give a whole new meaning to human flight. Damn. They figured out they can loose the skis altogether…jump off Norwegian peaks and spread their squirrel suits. Cowabunga!

 

Bookmark and Share

March 4, 2009

Werner Herzog, February 20, 2009, Royce Hall, UCLA — Part 2

Royce Hall, UCLAWerner Herzog continued“This is what I learned”:

Part 2

That Werner Herzog is a lover of language and poetry. He speaks of the witnessing, the taxonomy of Virgil’s Georgics, a paean to the earth and all that grows and grazes there.

Herzog tells of the Icelandic Codex Regius, thought to have been written in the 1270’s. How he was allowed to actually hold the delicate document, made up of 45 vellum leaves, and of its return journey to Reykjavík in 1971 accompanied  by  the full Danish military escort. He further narrates on the oral traditions of Iceland preserved and reserved for vital consolation. Women whose husbands have been lost at sea, recite all 800 verses of the Codex to purge their grief.

And another note on a language lost, it’s last Aboriginal speaker, isolated in society, drops coins into a vending machine as if listening for the question only he can supply the answer to.  

Here are Excerpts from Virgil’s Georgics: Tranlated by  H. R. Fairclough

 Georgics Book I [43] In the dawning spring, when icy streams trickle from snowy mountains, and the crumbling clod breaks at the Zephyr’s touch, even then would I have my bull groan over the deep-driven plough, and the share glisten when rubbed by the furrow. That field only answers the covetous farmer’s prayer which twice has felt the sun and twice the frost; from it boundless harvests burst the granaries. And ere our iron cleaves an unknown plain, be it first our care to learn the winds and the wavering moods of the sky, the wonted tillage and nature of the ground, what each clime yields and what each disowns. Here corn, there grapes spring more luxuriantly; elsewhere young trees shoot up, and grasses unbidden. See you not, how Tmolus sends us saffron fragrance, India her ivory, the soft Sabaeans their frankincense; but the naked Chalybes give us iron, Pontus the strong-smelling beaver’s oil, and Epirus the Olympian victories of her mares? From the first, Nature laid these laws and eternal covenants on certain lands, even from the day when Deucalion threw stones into the empty world, whence sprang men, a stony race. Come then, and where the earth’s soil is rich, let your stout oxen upturn it straightway, in the year’s first months, and let the clods lie for dusty summer to bake with her ripening suns; but should the land not be fruitful, it will suffice, on the eve of Arcturus’ rising, to raise it lightly with shallow furrow – in the one case, that weeds may not choke the gladsome corn; in the other, that the scant moisture may not desert the barren sand.

 Georgics Book III [440] Diseases, too, their causes and tokens, I will teach you. Foul scab attacks sheep, when chilly rain and winter, bristling with hoar frost, have sunk deep into the quick, or when the sweat, unwashed, clings to the shorn flock, and prickly briars tear the flesh. Therefore the keepers bathe the whole flock in fresh streams; the ram is plunged in the pool with his dripping fleece, and let loose to float down the current. Or, after shearing, they smear the body with bitter oil lees, blending sliver scum and native sulphur with pitch from Ida and richly oiled wax, squill, strong hellebore, and black bitumen. Yet no help for their ills is of more avail than when one has dared to cut open with steel the ulcer’s head; the mischief thrives and lives by concealment, while the shepherd refuses to lay healing hands on the wounds, and sits idle, calling upon the gods for happier omens. Nay more, when the pain runs to the very marrow of the bleating victims, there to rage, and when the parching fever preys on the limbs, it is well to turn aside the fiery heat, and within the hoof to lance a vein, throbbing with blood, even as he Bisaltae are wont to do, and the keen Gelonian, when he flees to Rhodope and the wilds of the Getae, and there drinks milk curdled with horses’ blood. Should you see a sheep oft withdraw afar into the soft shade, or listlessly nibble the top of the grass, lagging in the rear, or sink while grazing in the midst of the field and retire, late and lonely, before night’s advance, straightway with the knife check the offence, ere the dread taint spreads through the unwary throng. Not so thick with driving gales sweeps a whirlwind from the sea, as scourges swarm among cattle. Not single victims do diseases seize, but a whole summer’s fold in one stroke, the flock and the hope of the flock, and the whole race, root and branch. Of this may one be witness, should he see – even now, so long after – the towering Alps and the forest of the Noric hills, and the fields of Illyrian Timavus and the shepherds’ realm derelict, and their glades far and wide untenanted.

 Georgics Book III [515] But lo, the bull, smoking under the ploughshare’s weight, falls; from his mouth he spurts blood, mingled with foam, and heaves his dying groans. Sadly goes the ploughman, unyokes the steer that sorrows for his brother’s death, and amid its half-done task leaves the share rooted fast. No shades of deep woods, no soft meadows can touch his heart, no stream purer than amber, rolling over the rocks in its course towards the plain; but his flanks are unstrung throughout, numbness weighs upon his languid eyes, and his neck sinks with drooping weight to earth. Of what avail is his toil or his services? What avails it, that he turned with the share the heavy clod? And yet no Massic gifts of Bacchus, no feasts, oft renewed, did harm to him and his. They feed on leaves and simply grass; their cups are clear spring and rivers racing in their course, and no care breaks their healthful slumbers.

Bookmark and Share

March 2, 2009

Werner Herzog, February 20, 2009, Royce Hall, UCLA — Part 1

herzog_cropWerner Herzog truly has an infinite amount of things to speak of. I wanted to speak about this lecture sooner, but in attempting to do so I found myself, like Alice, sliding down the proverbial rabbit hole, tracking sown some strange and wondrous knowledge. Here is what I learned:

PART 1

That George Murphy and Fred Astraire danced and sang their hearts out in the Cole Porter “Broadway Melody of 1940“. If you get a chance to see it on the big screen, do it!

That Werner Herzog is a human enthusiast, a champion of the raw psyche, condensed emotionality, “Fever Dreams“, and the “Ecstatic Truth“. Thus being said, he is the prime candidate to direct opera. Documenting the Wodabee tribes of the Sahara provides Herzog with the opportunity to explore a dramatic dialectic. He seizes the moment to pair footage of the tribesmen, highly decorated, dressed in transvestite finery, flashing the whites of their eyes and teeth (regarded as extremely appealing to the opposite sex) with the only recorded castrato, Alessandro Moreschi, his solo ‘Ave Maria’ by Gounod, recorded in 1904 in the Vatican. The synchronicity is arresting and makes for a most memorable operatic moment.


Bookmark and Share