DOCSLIB.ORG

Chapter Six Berlin Reviews II: Standing up for Spontini a Parisian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter Six Berlin Reviews II: Standing up for Spontini a Parisian Chapter Six Berlin Reviews II: Standing up for Spontini A Parisian in Berlin Gaspare Luigi Pacifico Spontini (born in Maiolati, 1774) received his early musical education at the conservatory in Naples, where he composed various opere buffe. Before moving to Paris in 1803, he had written operas for the major Italian opera stages of Rome, Venice, Naples, Florence, and Palermo. In Paris, he soon came under the patronage of Empress Joséphine, whose influence was instrumental in bringing about the première of Spontini’s first tragédie lyrique La Vestale (1807). Apart from Milton (1804; dedicated to Joséphine), he had had little success with his French and Italian comic operas for Paris, but with the enormous triumph of La Vestale, Spontini was soon celebrated as the leading opera composer in Paris and was commissioned to write a propaganda opera, entitled Fernand Cortez. This work was to glorify Napoleon’s upcoming Spanish campaign. Much like the conquistadores had brought civilization to the Aztecs, the French now envisioned civilizing backward Spain. The opera’s première on 28 November 1809 represented another great success, and was attended by Napoleon himself. After the Emperor’s fall, Spontini continued to write operas for King Louis XVIII during the Bourbon Restoration and became a naturalized French citizen in 1817. With La Vestale and Fernand Cortez, Spontini had established his international fame, and his operas became part of the repertory of many European opera houses. When King Friedrich Wilhelm III of Prussia visited Paris in April and May of 1814, he was deeply impressed by Spontini’s works and ordered a performance of Cortez in Berlin, which took place on 15 October 1814. The King’s suggestion to engage Spontini at the Berlin opera met with great opposition from Count Brühl. Although it would be beneficial to attract a renowned composer, Brühl argued, Spontini had only written two internationally-famous operas thus far. Moreover, the composer lacked experience as an orchestral conductor, a task that would be further complicated by the fact that he didn’t know any German. It was of great importance to engage an experienced conductor, however, since Kapellmeister B. A. Weber was suffering from worsening health problems, and music directors Joseph Gürlich and Friedrich Ludwig Seidel showed no great 330 Hoffmann, Cosmopolitanism, and German Opera talent for conducting. He did suggest appointing a famous composer as an honorary first Kapellmeister, mentioning Spontini, Cherubini, or Paer as possible candidates.1 The King, however, was even more impressed by the revised version of Cortez when he heard its première during his visit to Paris in the summer of 1817, and subsequently bestowed the title of Premier Maître de Chapelle Honoraire upon Spontini. In 1818, he ordered La Vestale to be performed in Berlin annually and granted Spontini permission to dedicate his Preußischer Volksgesang to him, which premièred in Berlin on 18 October and would be performed in the opera house on the King’s birthday each year until his death in 1840. Although negotiations with Spontini had begun as early as 1814, it was not until August 1819 that Spontini signed a contract with Generalmajor Jost von Witzleben, who was acting on behalf of the King. Spontini was appointed General-Musik-Direktor at the Berlin opera for a period of ten years. Among his duties were the composition of two great operas every three years, or smaller works once a year, and the rehearsal of all opera productions. Furthermore, he was to conduct the first performances of his own compositions as well as music performed on festive occasions. Count Brühl’s signature was not on the contract; in fact, he had been kept in the dark about Spontini’s appointment and was only informed after its conclusion. Brühl protested in a letter to the King and stressed again why, in his view, Spontini was unfit for this position: ‘[…] er versteht unsere Sprache und Litteratur nicht, kann daher nicht in derselben komponieren, ebenso wenig auch die Details des Theater- und Orchester-Dienstes besorgen’. (‘He is not familiar with our language and literature, and will thus not be able to compose in it. Nor will it be possible for him to take care of matters concerning the theater or the orchestra’.)2 Brühl, who would have liked to see more original works composed in German, saw the opportunity for this slip away with Spontini’s appointment. He also pointed out once more that Spontini lacked the necessary experience as a conductor and warned about rumors he had heard from Paris about Spontini’s false and malicious character. In short, he would have liked to see ‘[…] wenn auch nicht so große Komponisten, doch nützlichere Subjekte’. (‘perhaps not so great and famous composers, but rather more useful subjects’.)3 As a theater 1 Altmann, ‘Spontini an der Berliner Oper’, pp.246-247. Negotiations with Cherubini did not materialize for financial reasons. Hübscher, Die königlichen Schauspiele zu Berlin, p.31. 2 Altmann, ‘Spontini an der Berliner Oper’, p.253. 3 Altmann, ‘Spontini an der Berliner Oper’, p.253. .
Load more

Recommended publications
  • La Vestale Gaspare Spontini
    La Vestale Gaspare Spontini NOUVELLE PRODUCTION Jérémie Rhorer direction Eric Lacascade mise en scène DU 15 AU 28 OCTOBRE 2013 6 REPRESENTATIONS Théâtre des Champs-Elysées SERVICE DE PRESSE +33 1 49 52 50 70 theatrechampselysees.fr La Caisse des Dépôts soutient l’ensemble de la RESERVATIONS programmation du Théâtre des Champs-Elysées T. +33 1 49 52 50 50 theatrechampselysees.fr Spontini 5 La Vestale La Vestale Gaspare Spontini NOUVELLE PRODUCTION Jérémie Rhorer direction Eric Lacascade mise en scène Emmanuel Clolus décors Marguerite Bordat costumes Philippe Berthomé lumières Daria Lippi dramaturgie Ermonela Jaho Julia Andrew Richards Licinius Béatrice Uria-Monzon La Grande Vestale Jean-François Borras Cinna Konstantin Gorny Le Souverain Pontife Le Cercle de l’Harmonie Chœur Aedes 160 ans après sa dernière représentation à Paris, le Théâtre des Champs-Elysées présente une nouvelle production de La Vestale de Gaspare Spontini. Spectacle en français Durée de l’ouvrage 2h10 environ Coproduction Théâtre des Champs-Elysées / Théâtre de la Monnaie, Bruxelles MARDI 15, VENDREDI 18, MERCREDI 23, VENDREDI 25, LUNDI 28 OCTOBRE 2013 19 HEURES 30 DIMANCHE 20 OCTOBRE 2013 17 HEURES SERVICE DE PRESSE Aude Haller-Bismuth +33 1 49 52 50 70 / +33 6 48 37 00 93 [email protected] www.theatrechampselysees.fr/presse Spontini 6 Dossier de presse - La Vestale 7 La Vestale La nouvelle production du Théâtre des Champs-Elysées La Vestale n’a pas été représentée à Paris en version scénique depuis 1854. On doit donner encore La Vestale... que je l’entende une seconde fois !... Quelle Le Théâtre des Champs-Elysées a choisi, pour cette nouvelle production, de œuvre ! comme l’amour y est peint !..
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • EJC Cover Page
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. TWO HUNDRED AND FIFTY YEARS OF THE OPERA (1669-1919) By J.-G. PROD'HOMME " A NNO 1669."-This hybrid inscription, which may be read above the curtain of the Academie nationale de musique, re- minds the spectators that our foremost lyric stage is a crea- tion of Louis XIV, like its elder sisters the academies of painting and sculpture, of dancing, of inscriptions and belles-lettres, of sciences, and the Academy of Architecture, its junior.
    [Show full text]
  • Spontini's Olimpie: Between Tragédie Lyrique and Grand Opéra
    Spontini’s Olimpie : between tragédie lyrique and grand opéra Olivier Bara Any study of operatic adaptations of literary works has the merit of draw - ing attention to forgotten titles from the history of opera, illuminated only by the illustrious name of the writer who provided their source. The danger, however, may be twofold. It is easy to lavish excessive attention on some minor work given exaggerated importance by a literary origin of which it is scarcely worthy. Similarly, much credit may be accorded to such-and-such a writer who is supposed – however unwittingly and anachronistically – to have nurtured the Romantic melodramma or the historical grand opéra , simply because those operatic genres have drawn on his or her work. The risk is of creating a double aesthetic confusion, with the source work obscured by the adapted work, which in turn obscures its model. In the case of Olimpie , the tragédie lyrique of Gaspare Spontini, the first danger is averted easily enough: the composer of La Vestale deserves our interest in all his operatic output, even in a work that never enjoyed the expected success in France. There remains the second peril. Olimpie the tragédie lyrique , premiered in its multiple versions between 1819 and 1826, is based on a tragedy by Voltaire dating from 1762. Composed in a period of transition by a figure who had triumphed during the Empire period, it is inspired by a Voltaire play less well known (and less admired) than Zaïre , Sémiramis or Le Fanatisme . Hence Spontini’s work, on which its Voltairean origin sheds but little light, initially seems enigmatic in 59 gaspare spontini: olimpie aesthetic terms: while still faithful to the subjects and forms of the tragédie lyrique , it has the reputation of having blazed the trail for Romantic grand opéra , so that Voltaire might be seen, through a retrospective illusion, as a distant instigator of that genre.
    [Show full text]
  • LA VESTALE GASPARE SPONTINI Alessandro De Marchi & Eric Lacascade
    PRESS FILE OPERA LA VESTALE GASPARE SPONTINI Alessandro de Marchi & Eric Lacascade 13, 15, 17, 20, 22 October 2015 20:00 25 October 2015 15:00 CIRQUE ROYAL / KONINKLIJK CIRCUS Opéra en trois actes, version française Livret de Victor-Joseph Etienne de Jouy Premiere Salle Montsansier, Paris, 15/12/1807 NEW PRODUCTION I – INTRODUCTION WITH BIOGRAPHIES THE FLAMES OF THE VESTAL ALTAR SET THE SCORE ALIGHT Since La Vestale, not a note of music has been written that wasn’t stolen from my scores!’ Gaspare Spontini was himself aware of how innovative and influential his score was. He turned opera in a new direction by conceiving the whole score on the basis of a compelling dramatic conception involving naturalistic effects, orchestration, and musical form, thereby pointing the way for such opera composers as Rossini, Wagner, Berlioz, and Meyerbeer. As a grand opera it was ahead of its time and was full of spectacular scenes showing a Vestal Virgin’s forbidden love for a Roman general; it made Spontini the most important composer of the Napoleonic period. Here directing his first opera, the French stage director Éric Lacascade focuses on a highly topical subject: ‘More than passionate love, what is at stake in this opera is the liberation of a woman who frees herself from the power of religious authority.’ COMPOSER & WORK Born in 1774 in Italy, Gaspare Spontini (1774-1851) imposed a new style to French music, mixing his Neapolitan inspiration to the genre of French lyric tragedy and thus creating what may be termed as Grand Historic Opera. The Italian composer, who became French in 1817, began a brilliant career in Rome and Venice after his studies at the Royal Conservatory of Naples.
    [Show full text]
  • "Casta Diva" from Bellini's
    “Casta Diva” from Bellini's “Norma”--Rosa Ponselle; accompanied by the Metropolitan Opera Orchestra and Chorus, conducted by Giulio Setti (December 31, 1928 and January 30, 1929) Added to the National Registry: 2007 Essay by Judy Tsou (guest post)* Rosa Ponselle “Casta Diva” is the most famous aria of Vincenzo Bellini’s “Norma” (1831). It is sung by the title character, a Druidess or priestess of the Gauls, in the first act. The opera takes place in Gaul between 100 and 50 BCE when the Romans were occupiers. The Gauls want Norma to declare war on the Romans, who have been oppressing them. Norma is hesitant to do so because she is secretly in love with Pollione, the Roman proconsul, and with whom she has borne two children. She assuages the people’s anger and convinces them that this is not the right time to revolt. She asserts that the Romans will eventually fall by their own doing, and the Gauls do not need to rise up now. It is at this point that Norma sings “Casta Diva,” a prayer to the moon goddess for peace, and eventually, conquering the Romans. When things between her and Pollione go sour, Norma tries to kill their children but ultimately cannot bring herself to do so. Eventually, she confesses her relationship with Pollione and sacrifices herself on the funeral pyre of her lover. “Norma” was the first of two operas commissioned in 1830 for which Bellini was paid an unprecedented 12,000 lire. “Norma” premiered on December 26, 1831 at La Scala, and the second opera, “Beatrice di Tenda,” premiered in 1833, but in Venice (La Fenice).
    [Show full text]
  • Mercadante in Paris (1835-36): the Critical View Author(S): Francesca Placanica Source: Revue Belge De Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, Vol
    Societe Belge de Musicologie Mercadante in Paris (1835-36): The Critical View Author(s): Francesca Placanica Source: Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 66, La critique musicale francophone belge au xixe siècle dans une perspective internationale / Nineteenth-century Belgian Francophone Music Criticism in International Context (2012), pp. 151-165 Published by: Societe Belge de Musicologie Stable URL: https://www.jstor.org/stable/23339196 Accessed: 26-05-2020 13:01 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Societe Belge de Musicologie is collaborating with JSTOR to digitize, preserve and extend access to Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap This content downloaded from 78.18.65.11 on Tue, 26 May 2020 13:01:02 UTC All use subject to https://about.jstor.org/terms Mercadante in Paris (1835-36): The Critical View Francesca Placanica (University of Southampton) On 1 desFebruary deux mondes 1842, theread openingas follows: paragraph of the music column of the Revue Il y a en ce moment, en Italie, une école qui tend à se rapprocher du système lyrique français. On a tant répété aux Italiens que leurs roulades n'avaient pas le sens commun, et que leurs éternelles cavatines étaient absurdes, que les Italiens ne veulent plus faire de roulades et renoncent aux cavatines.
    [Show full text]
  • La Traviata March 5 – 13, 2011
    O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards.
    [Show full text]
  • Copyright by Brian James Watson 2005
    Copyright by Brian James Watson 2005 The Treatise Committee for Brian James Watson certifies that this is the approved version of the following treatise: Wagner’s Heldentenors: Uncovering the Myths Committee: K. M. Knittel, Supervisor William Lewis, Co-Supervisor Rose A. Taylor Michael C. Tusa John Weinstock Darlene Wiley Wagner’s Heldentenors: Uncovering the Myths by Brian James Watson, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2005 Acknowledgements This treatise would not have been possible without the assistance and encouragement of several people whom I would like to thank. First and foremost, I would like to thank Dr. K. M. Knittel for her careful supervision. Her advice and guidance helped shape this project and I am very grateful for her participation. I would also like to thank my co-supervisor, William Lewis, whose encouragement has been instrumental to my academic career. His singing helped stir my interest in Heldentenors. I am also grateful for the support of Darlene Wiley. Without her, my knowledge of vocal pedagogy would be quite limited. Rose Taylor should also be thanked for her positive attitude and encouragement. The other members of my committee should also be recognized. I want to thank Dr. Michael C. Tusa, for his participation on this committee and for his assistance in finding sources, and Dr. John Weinstock, for being a part of this committee. I would be remiss if I did not also thank my family, primarily my father for his understanding and sympathy.
    [Show full text]
  • Castil-Blaze Et La Réception De Weber, 1824-1857
    Les colloques de l’Opéra Comique Art lyrique et transferts culturels. Avril 2011 sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Castil-Blaze et la réception de Weber, 1824-1857 Mark EVERIST François-Henri-Joseph Blaze fut connu comme Castil-Blaze durant toute sa vie professionnelle1. Il fut un acteur majeur de la scène de la musique parisienne pendant la Restauration, la monarchie de Juillet et la première moitié du Second Empire. Il écrivait sur la musique, il était journaliste, éditeur, et fut un agent essentiel dans l’importation et l’assimilation de l’opéra allemand et italien dans les cercles musicaux à la fois parisiens et provinciaux. Au cours de sa vie, il fut respecté et son œuvre fut appréciée et comprise. En grande partie à cause des commentaires excessifs des Mémoires de Berlioz, il en est venu à se faire rabaisser par ceux qui échouent – ou se refusent – à comprendre la culture de 1 Le meilleur compte rendu, à ce jour, de la carrière de Castil-Blaze est celui que livre Pierre Larousse, « Blaze (Fr.-Henri-Joseph, dit Castil -) », Grand Dictionnaire universel du XIXe siècle français, historique, géographique, biographique, mythologique, bibliographique, littéraire, artistique, scientifique, etc., vol. 2, Paris : Grand Dictionnaire Universel, 1867, p. 812-813 (paru dix ans exactement après la mort de Castil-Blaze). Les deux articles de l’Oxford Music Online ne font guère mieux qu’actualiser celui de Larousse : Cormac NEWARK, « Castil-Blaze », Grove Music Online. Oxford Music Online, 8 Oct. 2012, http://www.oxfordmusiconline.com/subscriber/article/grove/music/05133 et Mark EVERIST, « Castil-Blaze », The New Grove Dictionary of Opera, sous la direction de Stanley SADIE.
    [Show full text]
  • Der Fliegende Holländer
    RICHARD WAGNER der fliegende holländer conductor Opera in three acts Valery Gergiev Libretto by the composer, based on the production François Girard novel Aus den Memoiren des Herren von Schnabelewopski by Heinrich Heine set designer John Macfarlane Monday, March 2, 2020 costume designer 8:00–10:25 PM Moritz Junge lighting designer New Production Premiere David Finn projection designer Peter Flaherty The production of Der Fliegende Holländer choreographer was made possible by a generous gift Carolyn Choa from Veronica Atkins dramaturg Serge Lamothe general manager Peter Gelb A co-production of the Metropolitan Opera; jeanette lerman-neubauer music director Dutch National Opera, Amsterdam; The Abu Dhabi Yannick Nézet-Séguin Festival; and Opéra de Québec 2019–20 SEASON The 160th Metropolitan Opera performance of RICHARD WAGNER’S der fliegende holländer conductor Valery Gergiev in order of vocal appearance daland Franz-Josef Selig steersman David Portillo dutchman Evgeny Nikitin mary Mihoko Fujimura DEBUT senta Anja Kampe DEBUT erik Sergey Skorokhodov This performance is being broadcast live on Metropolitan senta dancer Opera Radio on Alison Clancy SiriusXM channel 75 and streamed at metopera.org. Der Fliegende Holländer is performed without intermission. Monday, March 2, 2020, 8:00–10:25PM KEN HIOWARD / MET OPERA A scene Chorus Master Donald Palumbo from Wagner’s Interactive Video Development Jesse Garrison / Der Fliegende Nightlight Labs Holländer Associate Video Producer Terry Gilmore Musical Preparation John Keenan, Dan Saunders, Bradley
    [Show full text]
  • TOM VOLF Macha Kassian-Bonnet
    PETIT DRAGON, ELEPHANT DOC & VOLF PRODUCTIONS PRESENT a documentary film by TOM VOLF Macha Kassian-Bonnet © Graphic Design films films 2 A colour film for movie Maria theatres Since Pier Paolo Pasolini’s Medea in 1969, this will be La by Callas Divina’s comeback to the big screen! This documentary will take the opera singer out of television. Three prestigious actresses will lend their voices to Maria Callas’ in her own words most intimate words. In France, it will be Fanny Ardant, who embodied Callas so perfectly for the stage in Master Class, then for the big screen in Callas Forever; discussions are currently taking place for two prestigious actresses for the English and Italian voices. Callas in her own words: To renew Maria Callas’ image and ensure this documentary interests all generations – young people, in particular – the for the first time film will be nearly entirely in colour. In addition to the Finally, 40 years after her death, and for the very first time, unreleased archives, the more iconic archives, often in the most famous opera singer in history, Maria Callas, is black and white, will be colourized and restored for the about to tell her own story – in her own words. first time in HD. There will be no talking heads, in the form of specialists or Given the ambitious scope of any film featuring such an those close to her. Instead, Callas’ own voice will tell us international star, Tom Volf has partly based his choices by about herself through interviews (many of which have ne- looking to documentaries like AMY, released theatrically in ver been released, or will be rediscovered) and rare letters 2015 (and premiering at the Cannes Film Festival), as well sent to her friends and family, her love letters to her first as Ingrid Bergman in Her Own Words, also released in husband, as well as to Aristotle Onassis.
    [Show full text]