Felures (Amar) Recits (French Edition)

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Get fast, free shipping with Amazon Prime. Get to Know Us. Merci encore et continuez de nous ravir les oreilles. La voix et le rythme de lecture de Victoria sont inoubliables! Pense-t-on aussi au livre audio? Bravo et surtout Merci mille fois. Marveilleuse facon de lire. Je vais chercher autres livres par cette lectrice. Vous pouvez aussi suivre ce billet sans ajouter de nouveau commentaire. Indiquez simplement ici votre e-mail: Page vue fois Victoria le 14 juin Autant de bisous que de bougies, cher Vincent. Tournesol le 14 juin Before the last part of the first half, featuring three pieces by Alexander Scriabin, there was a long pause during which the lighting on the stage was changed, a sign that many people in the audience, myself included, interpreted as the beginning of intermission, only to be surprised by the words offered by Ms.

Laredo about the composer, who is by all accounts one of her specialties. She noted that Scriabin and Rachmaninoff had similar backgrounds and musical training and that, while the latter most admired the music of Tchaikovsky, the former admired that of Chopin. The first piece that Ms. The second piece— Guirlandes , op. Laredo reserved most of her comments for the last Scriabin piece she played—the Sonata no. Reading from the score, Ms. Laredo joked that the composer's performance directions, all written in French, "read more like a French novel than a piano sonata.

This section records warbling dissonant birdcalls, in multiple registers that required Scriabin to notate the music on four staves instead of the two grand staff normally used for piano, as reported by Elmer Booze in his program notes. This passage, with its constant shifting up and down the keyboard, revealed the still-remarkable technical fortitude of this pianist, now in her 60s. Not surprisingly, the audience reacted with much less enthusiasm to the Scriabin offerings, despite Ms. Nevertheless, I do recommend Ms. After a short intermission, it was apparent that a number of audience members had left the building.

Laredo played several preludes by that other side of the Russian prerevolutionary coin, Sergei Rachmaninoff.

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I admit freely that I am not a fan of Rachmaninoff, and I often reach the end of a performance of his music wondering if the result was worth all the effort, as I did that night. There was never any doubt as to Ms. Laredo's control over the most difficult passages, but the music itself left me uninspired. The piece that ended the program was Maurice Ravel's La valse , from This is a piece that I really like, but I was left somewhat flat by Ms. Laredo's rendition of the arrangement for one piano.

The opening of this piece is a confused, turbulent wash of sound, out of which is supposed to rise the charming dance that is a tribute to the Viennese waltzes of Johann Strauss, Jr. Elmer Booze situates this fascination with the waltz in relation to the death of Claude Debussy and Ravel's desire "to maintain and reinforce his preeminence. Laredo seemed to apply too much sustaining pedal for the room, and her focus on the technical intricacies of the often-dissonant whirring of music further obscured the soaring waltz melody, to which it should be subordinate.

For me, one of the most enjoyable parts of attending concerts at the National Gallery is walking out of the gallery to go home. That night, it heard the melodies of Ravel's La Valse as I passed by it. A feast for the eyes does not rule out the ears also being charmed: At the same time, there are the following related exhibits: If it didn't mean losing my job and irritating my family, I would be on the plane to Paris tonight. The following proposal began as a series of quixotic remarks about American cultural life. We now present a more thoroughly formulated presentation of these ideas, for the consideration of our readers and hopefully for the politicians to whom it is addressed.

Readers are requested and encouraged to voice their approval or disapproval for this proposal in the comments section click on the "Comments" link at the bottom of this post. As the most powerful nation on earth, it is scandalous that the United States should be impoverished in terms of its cultural life and heritage, by comparison with other industrialized nations.

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In many other countries, it is accepted that the importance of the arts to the citizenry demands that a government sponsor an entity at the national ministerial level, charged with the mission of fostering and preserving all facets of society's artistic and creative life. The list of countries in Europe that fund such a Ministry of Culture at the national level should cause us as Americans some embarrassment, where in recent years federal funding for cultural programs has been reduced from slim to meager.

However, it may be surprising to learn of more challenged countries in Europe where the government's commitment to the arts is no less devoted, such as Greece, Bulgaria, Cyprus, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Romania, the Czech Republic, the Slovak Republic, Slovenia, and Turkey. The evidence becomes more striking when we consider the countries worldwide that fund some sort of Ministry of Culture, sometimes in conjunction with another important policy area like Communication, Education, Sports, Youth, Tourism, and so on.

Here in North America we are, in terms of government support of the arts, the poor cousin of both Canada which has a Department of Canadian Heritage , which funds the Canada Council for the Arts and a number of other programs and Mexico which has a National Council for Culture and the Arts.

Alain Amar Hanania

The United States government does spend money on sponsorship of the arts. According to the Americans for the Arts organization, estimates of federal funding of the arts are as follows: Add to this the dollars that go to cultural institutions such as the Smithsonian, the Kennedy Center, the Corporation for Public Broadcasting, along with about a dozen others, and the federal investment rises to almost a billion dollars. We propose the creation of a cabinet-level Department of Culture, which would collect together into one entity the existing arts and culture agencies of the federal government and their budgets: This new department would be charged with fostering and preserving the cultural life and heritage of the United States, including the support of appreciation of the history of the arts museum-related programs, scholarship and research, and arts education in public schools and funding for living creators of art, music, and literature.

To make an appropriate fiduciary commitment to this mission, we also propose a special funding arrangement for the new Department of Culture. The military accounts for a staggering percentage of the overall federal budget, far out of proportion by comparison to other programs in the budget as well as by comparison to other countries of the world. Following a lengthy visit to the United States in to , Alexis de Tocqueville, a government functionary from France, published a book about the United States called Democracy in America. In one chapter in that book Vol.

As soon as the multitude begins to take an interest in the labors of the mind, it finds out that to excel in some of them is a powerful means of acquiring fame, power, or wealth. The restless ambition that equality begets instantly takes this direction, as it does all others. The number of those who cultivate science, letters, and the arts becomes immense. This will not happen if we do not use the power of our wealth, represented in the federal budget, not only to build up the power to kill and dominate but also to cultivate our "taste for the pleasures of mind.

If our government does its part to present the joys of art, literature, and music by supporting them and making them available to all, then indeed, as he put it, "this intellectual craving, once felt, would very soon have been satisfied. Monsieur Ibrahim et les Fleurs du Coran Buy it from Amazon The French film Monsieur Ibrahim is being billed as the "return" of Egyptian actor Omar Sharif, although one glance at his filmography in the Internet Movie Database shows that he has certainly been working, just not in anything good.

In an interview published on the film's Web site, Mr. Sharif is perfectly frank about the nature of his recent work. In response to the question, "Is it true that you did not want to make any more movies? After my small role in the The Thirteenth Warrior with Antonio Banderas, I said to myself, "Let us stop this nonsense, these meal-tickets that we do because it pays well.

Unless I find a stupendous film that I love. And that makes me want to leave home to do, I will stop. It is terrifying to have to do the dialogue from bad scripts, to face a director who does not know what he is doing, in a film so bad that it is not even worth exploring.

That movie was adapted from a Michael Crichton novel Eaters of the Dead , which is bad enough. William Wisher and Warren Lewis, who are credited with writing the screenplay, should be ashamed. Worst of all, his name is synonymous with the Die Hard franchise, the first installment of which, in , was as tolerably entertaining as the third Die Hard: With a Vengeance [] was excruciating to watch. It looked like Thirteenth Warrior had finally spelt the end of an infamous career practically no work in film since then, if you check his IMDb filmography.

It was so bad that, according to IMDb, Michael Crichton did some uncredited reshoots on this film before it was finally released. Hollywood, however, never learns and, like the proverbial dog, is happy to lap up its own vomit if it sits on the floor for a few years: McTiernan has been tapped to direct Die Hard 4: Die Hardest , with Bruce Willis which is wasting celluloid as we speak, in preparation for a release in summer Todd Babcock takes exception: Alright, alright, ease up on The Thirteenth Warrior.

Heart on sleeve here: I loved that movie. Seen it probably five or six times twice in the theater, mind you. The dealing with the language crossover, where Banderas learns the Norse tongue through assimilation, where foreign words slowly intermingle with English, was a great conceit. I have not experienced that in film before and have noted it as an idea to steal for future projects though I am sure McTiernan stole it from something else.

The cast was stellar: You knew each character from one another simply by behavior and look. Film is pictures at the end of the day, and this film told its story through images and sound more than dialogue.

The lead character of the King just stole the picture: The ballad they recited about their fathers and the oral tradition were powerful and Crichton's juxtaposition of an unlikely cross-cultural landscape was, I thought, interesting. The ancestral worship vs. I feel you're writing off a lot of what the film did, I guess.

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But, more to the point, McTiernan had the film taken away from him by Crichton: It was meant as this epic tale with all the extra footage being character stuff. After the film was eviscerated, the character were left as shadows and simple ideas of what they shot. Basically, Hollywood and Crichton don't want three-hour art films with action.

They want their two-hour, above-the-title star action film to seep into theaters and make quick bank. The gutted film felt, well, gutted, and after an initial weekend bump of curiosity it was blasted by critics and the audiences soon followed suit. What the full film looked like, apparently, we will never know.

Crichton is too powerful to overthrow the pissing contest between director and writer went to the bestseller. McTiernan asked to have his name removed and, of course, they did not oblige because his name has cash value as well.

He has the luxury of choice. Take a note from the King of Candor, George Clooney: Sorry you didn't like it. It is not news that the Corcoran Gallery of Art and College of Art and Design wants to expand and has contracted with superstar architect Frank Gehry to create the new wing. However, you may not have gone to the museum's Web site to look at the images of what Gehry has proposed to build. It's curvilinear, it's titanium, it's dramatic, and the museum leadership is in the middle of a big campaign drive to pay for it, as well as other modifications to the facility.

I had not really given this much thought, but the Seward Johnson show that caused so much controversy may have been partially due to the institution's need to bring in some serious coin, which Johnson's show certainly did. Filed under Art , Corcoran. The line to get into the Whitney Biennial stretched out the door and around the block on my visit this past Wednesday.

Luckily, I was there around Once inside, it's a happening. There's painting, sound, installation, and more lines to view videos. I've got to admit up front something I'm not proud of, and that is my lack of patience for video, be it this exhibit or in a gallery. I give it a few minutes, and if it doesn't click, I'm gone.

What attracts me most is painting. This biennial is a big vibrant funhouse on four floors. I started on the second floor and made my way up to the fourth, at a fairly quick pace, weaving and bopping around the crowd, and then retraced my steps on the way back down.

Many of the artists I was already familiar with from the Chelsea galleries.

MALOT, Hector – Sans famille | Litterature www.newyorkethnicfood.com

As a whole I really enjoyed this biennial. As always, it's heavy on New York. That's expected, but there's a lot of good art being made outside of New York, too. There, I said it. Some other interesting reviews of the Whitney Biennial: Elizabeth Peyton 's small painting gems, for one. Probably because of their small, quiet stature, they stand out in this boisterous show. In the same room are several David Hockney portraits, interiors, and landscapes in watercolor. Hockney is also showing new drawings up the street at Richard Gray Gallery: Self Portrait In The Bathroom is great.

I spent most of my time in this room. It's a feast for the senses: Two pieces also exhibit the original woodblocks. On 57th Street, Alexandre Gallery is showing four small 14 by 16 inches landscapes by Lois Dodd, which were probably the most memorable paintings of the day. Snow, Wood, Flatbrookville, is one. Barbara Mathes Gallery has a beautiful exhibit of costumes and textiles from 10th- to 13th-century China.

Even Beverly Sills has apparently given up on finding a new corporate sponsor for the Met Opera Broadcast see post on November 15 , since her taped appeal for contributions from listeners is now played before each broadcast. So, you had better find which radio station in your area plays the Met broadcast and start listening, because it will soon disappear. You could do worse than listening to the broadcasts of the complete cycle of Wagner's Der Ring des Nibelungen , as I did this past Saturday, with the first opera of the tetralogy, Das Rheingold. Since the opera was performed, as it must be, without any pause or intermission, the broadcast began with an interview with conductor James Levine by Ara Guzelimian instead of the usual intermission features.

In the opera's famous opening scene, deep in the waters of the Rhine river, Wagner unfolds an immense, rolling E-flat major chord. In this sound, the three Rhinemaidens sing and play around the gold they are set to protect. They laughed wonderfully in this production, as did Richard Fink as Alberich, who produced one of the great evil laughs in operatic history, as he made off with the gold he has stolen. The opening scene of Das Rheingold is one of the most promising starts to any opera, but the energy of that scene dissipates, as the exciting transition music leads us up from the river to the heights of Valhalla.

For me, the driving power of some of Wagner's scenes is more than outweighed by those "long half-hours" of dreadful narration, such as the second scene of this opera.

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We learn that Valhalla is completed, that Fricka the Cassandra of the gods is worried about the fact that her husband, Wotan, has promised to pay the giants for building Valhalla with her sister, Freia, and so on. I always find myself about ready to doze off until the entry of the giants, Fasolt and Fafner, which was played in this performance at a deliberate tempo with blaring brass sounds.

Two powerful Russian singers played the giants in the Met production, Evgenij Nikitin Fasolt and Sergei Koptchak Fafner , and they were exciting to hear. Tune in for the rest of the Ring cycle broadcasts: Filed under Opera , Richard Wagner. The victory of David over Goliath 1 Kings [1 Samuel] 17 resonates with underdogs, which is why David, the teenager who took on a brutish man 6 cubits 9 feet tall and won, became a hero of the Florentine republic.

Numerous depictions were created in sculpture, painting, and other media in Florence over the centuries, of which those of Donatello bronze, c. It was on exhibit at the High Museum of Art , in Atlanta, Georgia, from November 18, , to February 8, their Web feature on the sculpture is remarkably well done and very informative: Verrocchio's sculpture shows David at his most boyish. Although his age is not specified in the Bible, when David offers to fight Goliath, Saul scoffs at the idea, saying: He was just a rough-and-tumble shepherd, who was proud of having saved sheep of his flock from a lion and a bear.

With a blessing, "Saul clothed David with his garments, and put a helmet of brass upon his head, and armed him with a coat of mail. And David having girded his sword upon his armor, began to try if he could walk in armour: And David said to Saul: I cannot go thus, for I am not used to it. And he laid them off" verses 38— And that is how Verrocchio shows him, with a fine under-armor tunic and stockings, worthy of a king, but not the brass helmet or coat of mail. With a single stone from his sling, David "struck the Philistine in the forehead" verse David uses Goliath's sword to cut his enemy's head from his body, puts his armor in his tent, takes his head to Jerusalem and even carries it in for his audience before Saul.

You may have read that the sculpture has been restored. At some point during or just after the creation of the sculpture, the head of Goliath was placed in between David's feet, so that it would fit on a smaller pedestal for its new location inside the Palazzo Vecchio the Medici family sold it to the government of Florence. As seen in the image on the left, this is how Verrocchio's David has been viewed for over five centuries. It has now been restored to reflect the sculptor's original vision, shown in the image on the right, with the head of Goliath off to David's swordhand side.

When you compare the two versions, what Verrocchio originally planned makes so much more sense than what we were used to seeing: Now, if you stand and look David directly in the face, his body points your eye toward the severed head, the source of his proud but ultimately rather nonchalant pose. The other result of the restoration is the removal of years of black varnish which really changed the overall tone of the sculpture and grime from the surface of the statue, giving us a better idea of what Verrocchio intended.

David's skin now has a different quality than the sheer under-armor garment he wears, and traces of gold-leaf gilding adorn the border of that garment as well as his hair. Two things stood out in my mind as I stood in front of this statue. The first is just how small Verrocchio's imagining of David is: By contrast, Donatello's David is 5 feet tall cm ; Bernini's David 5. Again, Verrocchio seems to be the closest to the Old Testament account, having created a diminutive figure "but a boy," as Saul scoffs who captures the whimsically confident tone of the Biblical David.