Wow, in Alcina not only does the soprano assist with the puppetry, but she correctly looks at the puppet. From the little I know about puppetry this is one of the fundamental keys to making puppets come alive, but I have often seen performers with a non puppetry background directing their gaze with the puppet's gaze or at the audience instead. Sometimes this is even a conscious decision to try to make the performer co equal with the puppet. But here there is a humble dedication to making the puppet the focus and it absolutely pays off.
Hmmm this NTT sounds strikingly familiar, but not so familiar that I could claim I know it just by hearing it.
Neoclassical thing for winds and piano. Probably French. It screams ‘Poulenc’. But would Joey load up another Poulenc excerpt so shortly on the heels of his last one?
When something sounds like Poulenc but you think it’s maybe not Poulenc, Jean Françaix is always a safe bet, so I’m adding him to my bucket.
Wow, in Alcina not only does the soprano assist with the puppetry, but she correctly looks at the puppet. From the little I know about puppetry this is one of the fundamental keys to making puppets come alive, but I have often seen performers with a non puppetry background directing their gaze with the puppet's gaze or at the audience instead. Sometimes this is even a conscious decision to try to make the performer co equal with the puppet. But here there is a humble dedication to making the puppet the focus and it absolutely pays off.
Hmmm this NTT sounds strikingly familiar, but not so familiar that I could claim I know it just by hearing it.
Neoclassical thing for winds and piano. Probably French. It screams ‘Poulenc’. But would Joey load up another Poulenc excerpt so shortly on the heels of his last one?
When something sounds like Poulenc but you think it’s maybe not Poulenc, Jean Françaix is always a safe bet, so I’m adding him to my bucket.
That’s all I’ve got.