Artur Rubinstein - Piano Concertos
Jul 07 2006
•2h 32m
•Music
Arthur Rubinstein performs Grieg's Piano Concerto in A minor, Op. 16, Chopin's Piano Concerto No. 2 in F minor, Op. 21, and Saint-Saens Piano Concerto No. 2 in G minor, Op. 22 with Andre Previn at the London Symphony at Fairfield Hall, Croydon, England.
Cast
See all
Arthur Rubinstein
Self

André Previn
Self
London Symphony Orchestra
Self
Recommendations
See all
The Abduction from the Seraglio
Without question, this is an incredibly bizarre production. The revised storyline makes little sense, and there is a surprising amount of violence and sexual innuendo. However, the singers are superb, both vocally and in regard to their stage presence and acting, the orchestra plays beautifully, the chorus is wonderful, and the set is as clever as it is strange. It's definitely not for purists, or for someone new to this particular opera. But for someone who's seen Die Entfuhrung before, and is familiar enough with the original story to not miss it, watching Belmonte, Constanze, Blonde, Pedrillo, and Osmin embark on an entirely new adventure -- and push the boundaries of good taste -- is rather enjoyable.

Fast
Jean-Louis is an naive, amiable orphan who spent his life with his elderly and very strict grandfather. Jean-Louis was a 25-year old virgin when a free-spirited young Parisian woman was temporarily stranded in his village after a bus broke down. She left him a changed man, and she also left a match book from a fast food restaurant called Fast Burger. Soon after his grandfather passes away, the innocent rube Jean-Louis hops on his bike and embarks upon a quest to Paris to find this enigmatic woman. But he is not prepared for the size of Paris, and instead ends up working at a Fast Burger outlet himself. Jean-Louis is a simple soul and freely expresses himself without guile. For some reason this endears him to the staff and management; soon he has been promoted into the upper echelons of the company. One day he meets a rather ditzy Metro security guard, Henriette, who is also at sea in the big city. The kindred spirits click and a sweet romance ensues.

Welcome, Violeta!
Over the course of her stay at the remote residence, Ana becomes more and more familiar with Holden’s idiosyncratic methods that require the participating artists to abandon their own identities and live emotionally and psychologically as their characters. Captivated by her artistic investigation, Ana immerses herself wholly into the method and starts living as Violeta, until her fiction loses control.
