Franco Zeffirelli (1923-2019)

Total Page：16

File Type：pdf, Size：1020Kb

In memoriam: Franco Zeffirelli (1923-2019) Franco Zeffirelli är ej mer! Igår, den 15 juni 2019, kom meddelandet från Rom att den legendariske italienske demonregissören har gått ur tiden vid 96 års ålder. Zeffirelli tillhörde vår tids mest mångsidiga regissörer, med betydande insatser inom opera, teater, film och television. Många är vi som älskar hans underbara filmatisering av La Bohème från 1965 med Herbert von Karajan som dirigent och Gianni Raimondi och Mirella Freni som paret Rodolphe och Mimi. Som spektakulära filmatiseringar av operaverk får man betrakta Zeffirellis versioner av La Traviata med Teresa Stratas, Plácido Domingo och Cornell MacNeil samt Otello med Plácido Domingo, Katia Ricciarelli och Justino Díaz. Den senare filmen har inte utan fog kritiserats för sina strykningar. Franco Zeffirelli föddes i Florens den 12 februari 1923. Han studerade först konst och arkitektur, men efter att 1945 ha sett Laurence Olivier i Henry V bestämde han sig för att sadla om och ägna sig åt teater. Zeffirelli blev tidigt assistent åt regissören Luchino Visconti och kom även att arbeta under Roberto Rosselini. Så småningom fick han ett ökat intresse för opera och under 1950-talet inleddes ett samarbete med Maria Callas som får sägas ha kulminerat med den legendariska Tosca-uppsättningen på Covent Garden 1964 och en instudering av Norma i Paris samma år. Under sextiotalet påbörjades även en rad av uppmärksammade filmatiseringar. Här kan nämnas Så tuktas en argbigga med Richard Burton och Elizabeth Taylor, Romeo och Julia med Leonard Whiting och Olivia Hussey, The champ med Jon Voigt och Faye Dunaway, den självbiografiska filmen Tea with Mussolini med bland andra Cher, Judy Dench och Maggie Smith. Zeffirellis sista film blevCallas forever med Fanny Ardent i titelrollen. Omnämnas bör även den stjärnspäckade TV-serien Jesus of Nazareth från 1977 där man i den imponerande listan av framstående skådespelare bland annat återfinner namn som Robert Powell, Anne Bancroft, Claudia Cardinale, Ernest Borgnine, Laurence Olivier, James Mason, Donald Pleasence, Christopher Plummer, Anthony Quinn, Ralph Richardson, Rod Steiger, Peter Ustinov och Michael York. Efter denna name dropping från spelfilmens värld kan det vara lämpligt att åter påminna Franco Zeffirellis betydande operaproduktioner på film och scen där flertalet uppsättningar finns tillgängliga på dvd. Utöver de tre tidigare nämnda produktionerna skulle man särskilt kunna framhäva filmversionerna av Cavalleria Rusticana med Plácido Domingo och Elena Obraztsova samt Pajazzo med Domingo och Stratas. Från scener som Met, La Scala och Wiener Staatsoper kan man glädjas åt filmatiseringar av flertalet förnämliga uppsättningar av älskade operaklassiker som Don Giovanni, Don Carlos, Carmen, Tosca och Turandot, för att bara nämna några. Franco Zeffirellis samlade filmproduktion, och då inte minst inom operan, bär vittnesbörd om ett betydande livsverk som kan tjäna som inspiration och glädje för kommande generationer av cineaster och operaälskare. Sven Andersson.

Copy Link

Recommended publications

Stratford's the Merchant of Venice and Alabama Shakespeare Festival's the Winter's Tale
Vol. XVI THE • VPSTART • CR.OW Editor James Andreas Clemson University Founding Editor William Bennett The University of Tennessee at Martin Associate Editors Michael Cohen Murray State University Herbert Coursen Bowdoin College Charles Frey The University of Washington Marjorie Garber Harvard University Walter Haden The University of Tennessee at Martin Chris Hassel Vanderbilt University Maurice Hunt Baylor University Richard Levin The University of California, Davis John McDaniel Middle Tennessee State University Peter Pauls The University of Winnipeg Jeanne Roberts American University Production Editors Tharon Howard, Suzie Medders, and Deborah Staed Clemson University Editorial Assistants Martha Andreas, Kelly Barnes, Kati Beck, Dennis Hasty, Victoria Hoeglund, Charlotte Holt, Judy Payne, and Pearl Parker Copyright 1996 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XVI About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. - T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opin ions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diver sity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $14 Institutions and Libraries, same rate as individuals- $14 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double spaced typed pages, including notes.
[Show full text]
Diva Forever the Operatic Voice Between Reproduction and Reception
ERIK STEINSKOG Diva Forever The Operatic Voice between Reproduction and Reception The operatic voice has been among the key dimensions within opera-studies for several years. Within a fi eld seemingly reinventing itself, however, this voice is intimately relat- ed to other dimensions: sound, the body, gender and sexuality, and so forth. One par- ticular voice highlighting these intersections is the diva’s voice. Somewhat paradoxical this is not least the case when this particular voice is recorded, stored, and replayed by way of technology. The technologically reproduced voice makes it possible to fully con- centrate on “the voice itself,” seemingly without paying any attention to other dimen- sions. The paradox thus arises that the above-mentioned intersections might be most clearly found when attempts are made to remove them from the scene of perception. The focus on “the voice itself” is familiar to readers of Michel Chion’s The Voice in Cinema. Starting out with stating that the voice is elusive, Chion asks what is left when one eliminates, from the voice, “everything that is not the voice itself.”1 Relating pri- marily to fi lm, and coming from a strong background in psychoanalysis, Chion moves on to discuss many features of the voice, beginning with the sometimes forgotten dif- ferentiation from speech. The materiality of the voice becomes important, and then already different intersections are hinted at. Combining Chion’s interpretations with musicology is nothing new, but it opens some other questions. The voice in music is not necessarily as elusive as Chion seems to argue, or, perhaps better, its elusiveness is of a different kind.2 And when it comes to the operatic voice, dimensions beyond the ones Chion discusses beckon a refl ection.
[Show full text]
Campus Comment, October 22, 1968 Bridgewater State College
Bridgewater State University Virtual Commons - Bridgewater State University The ommeC nt Campus Journals and Publications 1968 Campus Comment, October 22, 1968 Bridgewater State College Volume 43 Number 3 Recommended Citation Bridgewater State College. (1968). Campus Comment, October 22, 1968. 43(3). Retrieved from: http://vc.bridgew.edu/comment/245 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Vol. XL III No.3 BRIDGEWATER STATE COLLEGE. BRIDGEWATER, MASS. OCTOBER 22. 1968 HE THEATRE EARTH SCIENCE SERIES BEGAN CONFERENCE by Anne Bor·owiec The fall series of lectures spon sored by the Earth Science and CONVENES Geography Department began on October 8. The first speaker was On Saturday morning, October 5, Dr. David Ross. Associate SCientist, 1968, an eager, if somewhat sleepy at Woods' Hole Oceanographic Insti eyed delegation of students and tute, speaking on "Diving on the faculty from Bridgewater embarked ocean .floor; 6.000 feet Down". for Tufts University to examine Dr. Ross began his talk by going J "The State of the Art." over the history of marine geology. The climax of the day was reached Thirty or forty years ago the shape early (9:30 A.M.) in a speech by of the ocean bottom was determined Orlin Corey on Children's Theatre.. by merely lowering a line, In 1925 If one can be inspired at a cockcrow sound waves ......'ere used to get re on a chilly Saturday morning. Mr. flections from the bottom and more t Corey provided the impetus. He recent advancements were the use of called for theatre to go back to myth.
[Show full text]
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz,
[Show full text]
Macerata Opera Festival from 20 July to 12 August 2018 the 2018 Theme Is #Verdesperanza
! The Sferisterio arena The Sferisterio arena is unique in its shape and structure. Built on the initiative of the Hundred Comrades (Cento Consorti), it was designed in 1829 by Neoclassical architect Ireneo Aleandri to host the game with ball and bangle. In 1921, it was used as an opera theatre for the first time (the first opera to be staged was Aida) and it’s still the only open-air opera theatre with boxes." After Gioconda, which was performed in 1922, activities were summoned again only in 1967. The season opened with Giuseppe Verdi’s Otello, featuring Mario Del Monaco in the leading role. Since then, the Sferisterio has welcomed the most extraordinary artists of our time: Luciano Pavarotti, Katia Ricciarelli, Renato Bruson, Montserrat Caballé, Placido Domingo, José Carreras, Raina Ka- baivanska, Mariella Devia, Anna Caterina Antonacci, Désirée Rancatore, Francesco Meli, Rolando Villazon, Rudolf Nureyev, Carla Fracci, Roberto Bolle." With its 2,500 seats, 104 boxes and one of the longest stages in Europe, the Sferisterio ensures perfect visibility and wonderful acoustics." A majestic yet intimate theatre, the Sferisterio was thus defined by tenor Luciano Pavarotti: “it is the most fascinating open-air theatre I have ever seen, I will never forget it”. Macerata Opera Festival" From 20 July to 12 August 2018 The 2018 theme is #verdesperanza The main issues threaded into our next summer festival are connected with a green, clean envi- ronment and sustainability, with planting the seeds of a better future through the art of hope. Our aim is to build strong ties with other bodies and institutions working on these issues, building a dia- logue on sustainability and bringing together culture, nature and the community.
[Show full text]
Mistero Callas Fuoco Domingo
8 Eventi Scala Giovedì 7 Dicembre 2006 Corriere della Sera I P ROTAGONISTI Price / Aida Nobile L’americana Leontyne Price nell’«Aida» scaligera del 1963. Domingo la considerava il miglior soprano verdiano (foto Piccagliani) Le voci Cossotto / Amneris Indimenticabile La mezzosoprano Fiorenza Cossotto alla Scala nel 1963 (Piccagliani) te Fracassi. Grande interprete verdiana e Aida storica fu poi l’americana Leontyne Price: soprano di colore, nel Da non perdere 1958 scelse Aida per debuttare in Europa, alla Staatsoper ISTERO ALLAS di Vienna. Due anni dopo, nello stesso ruolo, saliva per la Tra nuove edizioni M C e riscoperte prima volta sul palco scaligero. Anche la storia di Aida-Pri- ce regala un curioso aneddoto: nel 1981, a sessantaquattro di allestimenti anni, doveva cantare a San Francisco accanto a Pavarotti, storici, il mercato che interpretava Radames. Chiese di essere pagata un dol- discografico offre laro più del tenore, per essere, almeno in quel momento, oggi una varietà la cantante più pagata al mondo. Il teatro non esaudì il de- pressoché infinita siderio. Sontuosa, nobile e orgogliosa, la sua Aida conqui- di versioni, da UOCO OMINGO stò Domingo, che la considerava «il miglior soprano che Corelli a Carreras, F D abbia mai sentito cantare Verdi, per potenza e sensualità». dalla Callas alla Simili per fierezza e nobiltà furono le Aide di Leyla Gencer Caballé, senza DI ENRICO PAROLA e Montserrat Caballé, mentre a una vena più intimistica contare chi, come vanno ascritte quelle di Mirella Freni e Katia Ricciarelli. Karajan e Domingo, Non c’è Aida senza Radames, comunque, e anche que- ha firmato più na, dieci, cento Aide.
[Show full text]
Katia Ricciarelli - Biografia
KATIA RICCIARELLI - BIOGRAFIA Katia Ricciarelli (il cui nome completo è Catuscia Maria Stella) nasce il 18 gennaio 1946 a Rovigo da una famiglia povera. A otto anni ha già una voce «lirica», impostata, piena e si esibisce cantando nelle carceri e negli ospedali della città per aiutare economicamente la pro- pria famiglia. Nonostante le difficoltà, grazie agli enormi sacrifici della madre e al sostegno economico di un dirigente di banca di Rovigo, si iscrive al Conservatorio “Benedetto Marcello di Venezia”, dove ha l'opportunità di studiare con Iris Adami Corradetti, famoso soprano dell’epoca. Dal 1968 inizia la sua straordinaria carriera debuttando in circuiti di provincia, riscuotendo immediatamente un inatteso successo. E così, dopo aver vinto a Milano l’importante concorso ASLICO (Associazione lirica concertistica italiana), debutta ufficialmente a Mantova nel 1969 con “La bohème”. Dopo alcune importanti conferme (al Regio di Parma col “Trovatore”), sale alla ribalta nel 1971 con la vittoria del “Concorso Internazionale Voci Verdiane della RAI”, interpretando un'aria tratta da “Il corsaro”. Tale riconoscimento apre al soprano le porte dei più importanti teatri in Italia e nel mondo. Dotata di un timbro vocale di grande bellezza e luminosità e di una incredibile predisposizione al canto d’agilità, raggiunge l’apice della carriera tra gli anni Settanta e gli Ottanta, spaziando tra le opere di Puccini, Verdi, Rossini, Donizetti ed altri ancora. Katia si inserisce in quegli anni, in breve, nel panorama lirico mondiale ed è protagonista in "Giovanna d'Arco" di Giuseppe Verdi, "I Capuleti e i Montecchi", "Luisa Miller" e ancora ne "Il trovatore”.
[Show full text]
Romeo and Juliet Act II Scene 1
Romeo and Juliet Act II Scene 1 Manga Shakespeare Romeo and Juliet by Sonia Leong Ranman ½ • Ranma (boy) & Akane (girl) • Episode 39 • "Kissing is Such Sweet Sorrow! The Taking of Akane's Lips“ • Akane has been chosen to play the part of JulietUpon hearing that the person who plays Romeo gets to see China, Ranma wants to play the role. • The balcony scene at 1:49 • http://www.youtube.com/wat ch?v=4ImCrnbgOHw II.1.42-51 • Ben. Go, then, for ’tis in vain • To seek him here that means not to be found. • Rom. He jests at scars, that never felt a wound. • (He…wound: he can laugh at scars because he has never been wounded; speaking to Benvolio’s ‘found’ (scene 1, line 48) indicates that no scene Leonard Whiting as Romeo in break is intended— Romeo and Juliet (1968), directed although Romeo is now by Franco Zeffirelli inside the orchard.) Character Studies • Please ask the following questions for this character: 1) Who is he/she? (i.e. age, personality, education, etc.) 2) What is he/she trying to do? (i.e. purpose, motivation in the scene) 3) By what means? (method to get what he or she wants) 4) Against what resistance (anyone or anything stops him or her from getting what he or she wants) 5) Does this person get what he or she wants? II.1.44-51 • Rom. But, soft! what light through yonder window breaks? • It is the east, and Juliet is the sun! • Arise, fair sun, and kill the envious moon, • Who is already sick and pale with grief, • That thou her maid (Diana; goddess of the moon and patroness of virgins) art far more fair than she: • Be not her maid, since she is envious; • Her vestal livery is but sick and green, • And none but fools do wear it (Her…wear it: Romeo compares the habitual ‘greensickness’ (=anaemia) of young girls (‘vestal’), to the green and yellow coat worn by professional jesters.); cast it off.
[Show full text]
Da Bari Domingo Per Il Messico Scegli Il Tuo Film La Tv Si Addice Alla Bibbia
^f»^^-,^*|~T-^t*/ -*V,»M*4J- f«lt *-»*'»N t »t-X-«,«^ *-*. «vi* »*«* »-«*4 n* •* « *•»-*> • v***» » f i*^'«,-«~*i *'j •»*«» •-«-*• •- -»i» •*-*• > *'\"V' *,* L'UNITÀ / DOMENICA 3 NOVEMBRE 1985 contiene due brevi testi, il re* noi al successi ibi «il Attori e tà francese ed una italiana ed // teatro di cente «One for the road» (tra Tecnici, e «Wihl hmiev» («Mie* Un film in avrà per interpreti principali dotto «11 bicchiere della staf le selvatico»), adattamento dal Christopher Lambert, Eddy Pinter: se ne fa», appunto) — la sua «pri «Platonov» di Cechov, allestito Francia Mitchcll (a suo tempo cantan ma» risale al marzo '84, a Lon in questo inizio di stagione te rock ed oggi attore afferma dra — e «Monologue». In par dalla Compagnia del Teatro to) e l'italiana Flora Uarillaro parla a Roma ticolare, «One for the road» è Eliseo per la regia di Gabriele per Ferreri (attrice di teatro). Della storia stato definito «un'agghiac Lavia, protagonisti Umberto Ferreri non vuole parlare. Si ciante indagine sul potere e Orsini e Rossella Falk. limita ad affermare: «L'idea base della vicenda sta in un ROMA — Domani alle ore 18, sull'impotenza» e ha fatto di Alla presentazione dei due PARIGI — «Dopo tanti affet nella sede romana scutere a proposito di un nuo tuosi inviti degli amici france portachiavi che risponde, co libri interverranno anche si ho deciso di girare intera me una voce amica, a detcrmi deir«Associazione nazionale vo impegno politico del suo Umberto Orsini, Giancarlo critici di teatro» (via in Arcio autore, sulla linea delle de mente a Parigi il mio nuovo nate parole, oppure a toni acu Sbragia che, come è noto, ha film «1 love you» che comince ti, con uno o più fischi.
[Show full text]
04-14-2018 Luisa Miller Mat.Indd
GIUSEPPE VERDI luisa miller conductor Opera in three acts Bertrand de Billy Libretto by Salvadore Cammarano, production Elijah Moshinsky based on the play Kabale und Liebe by Friedrich von Schiller set and costume designer Santo Loquasto Saturday, April 14, 2018 lighting designer 12:30–4:00 PM Duane Schuler revival stage director Gregory Keller The production of Luisa Miller was made possible by a generous gift from Catherine and Ephraim Gildor The revival of this production is made possible by a gift from Rolex and Mrs. Jayne Wrightsman general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 91st Metropolitan Opera performance of GIUSEPPE VERDI’S This performance luisa miller is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with miller generous long-term Plácido Domingo support from The Annenberg luisa Foundation, The Sonya Yoncheva Neubauer Family Foundation, the laura Vincent A. Stabile Rihab Chaieb** Endowment for Broadcast Media, rodolfo and contributions Piotr Beczała from listeners worldwide. wurm Dmitry Belosselskiy Visit List Hall at the first intermission for count walter the Toll Brothers- Alexander Vinogradov Metropolitan Opera Quiz. federica Olesya Petrova This performance is also being broadcast a peasant live on Metropolitan Patrick Miller Opera Radio on SiriusXM channel 75. Saturday, April 14, 2018, 12:30–4:00PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
[Show full text]
Shakespeare Film Festival Features Zeffirelli Classics Office of Publicnfor I Mation
University of San Diego Digital USD News Releases USD News 1985-03-05 Shakespeare Film Festival Features Zeffirelli Classics Office of Publicnfor I mation Follow this and additional works at: http://digital.sandiego.edu/newsreleases Digital USD Citation Office of Public Information, "Shakespeare Film Festival Features Zeffirelli Classics" (1985). News Releases. 3583. http://digital.sandiego.edu/newsreleases/3583 This Press Release is brought to you for free and open access by the USD News at Digital USD. It has been accepted for inclusion in News Releases by an authorized administrator of Digital USD. For more information, please contact [email protected]. NEWS RELEASE UNIVERSITY OF SAN DIEGC OFFICE OF PUBLIC RELATIONS DIRECTOR: SARA FINN, APR PUBLICATIONS EDITOR: JOHN SUTHERLAND PUBLIC/CALENDAR EVENTS: JOAN MURRY, ASSISTANT DIRECTOR QP TELEPHONE: (619) 260-4600/EXT. 4296 ADDRESS: RM . 266 DESALES HALL, ALCALA PARK, SAN DIEGO, CA 92110 FOR IMMEDIATE RELEASE SHAKESPEARE FILM FESTIVAL FEATURES ZEFFIRELLI CLASSICS Franco Zeffirelli's "Romeo and Juliet" will lead off the Shakespeare Film Festival to be held at the University of San Diego on March 11, 12 and 14 at 8:00 p.m., Salomon Lecture Hall, DeSales Hall. The 1968 film to be shown March 11 stars Olivia Hussey, Leonard Whiting, Milo O'Shea and Michael York. Admission is free. For information, contact the USO Associated Students Cultural Arts, 260-4714. On March 12, "A Midsummer Night's Dream" starring Diana Rigg, David Warner, and Helen Mirren will be shown. Directed by Peter Hall in 1968, "Midsummer Night's Dream" was filmed in the forests near Stratford-on-Avon, England.
[Show full text]