Latest news with #Philistine
Sydney Morning Herald
3 days ago
- Entertainment
- Sydney Morning Herald
This show hasn't been seen on a Melbourne stage for 40 years. Now it's back
OPERA Samson and Delilah ★★★ Melbourne Opera, Palais Theatre, June 1 Samson and Delilah is the quintessential grand opera – large scale, spectacular (with many choruses and two ballets) and requiring superb singers. Melbourne Opera's production – and music lovers should be grateful yet again for their vision and determination – unfortunately really had only the last. The staging was deeply underplayed – deliberately so, according to the director's program notes, to emphasise psychological aspects (budget constraints might have been relevant). For me, it didn't work. The sets were far too minimalist, the lighting not even that, though Rose Chong's costumes were a highlight. The stage was divided into three, with the singers in front, the orchestra behind – which considerably reduced its impact – and the chorus above and behind them. The outstanding contribution came from the principals, Deborah Humble and Rosario La Spina, and the chorus (which is always outstanding). La Spina's huge, sweet tenor was ideal for Samson, but the biggest moments belong to the mezzo Delilah, and Humble relished them: sensitive, seductive, superb. Simon Meadows, Jeremy Kleeman and Eddie Muliaumaseali'i were splendid in the minor roles, while conductor Raymond Lawrence was sympathetic to composer and singers. The opera, which Camille Saint-Saëns (himself quite familiar with marital problems) takes from the Old Testament, tells of the Israelite leader who is seduced and betrayed by the vengeful Philistine Delilah. First performed in 1877, it was slow to bloom because of its biblical theme, but became immensely popular worldwide. Loading For the shortcomings, director Suzanne Chaundy – a leading force in so many of the company's recent triumphs, especially its series of Wagner operas – must take chief responsibility. The production was almost introverted, especially the climax where the blinded Samson pulls down the temple of the Philistine god Dagon, killing thousands. The bacchanal would scarcely have offended a women's temperance union. When Delilah came on stage brandishing Samson's shorn locks (the secret of his strength, symbolising his vow to God), they looked more like a dead possum. Yet, despite imperfections, Melbourne's first Samson and Delilah in 40 years was a real pleasure.
The Age
3 days ago
- Entertainment
- The Age
This show hasn't been seen on a Melbourne stage for 40 years. Now it's back
OPERA Samson and Delilah ★★★ Melbourne Opera, Palais Theatre, June 1 Samson and Delilah is the quintessential grand opera – large scale, spectacular (with many choruses and two ballets) and requiring superb singers. Melbourne Opera's production – and music lovers should be grateful yet again for their vision and determination – unfortunately really had only the last. The staging was deeply underplayed – deliberately so, according to the director's program notes, to emphasise psychological aspects (budget constraints might have been relevant). For me, it didn't work. The sets were far too minimalist, the lighting not even that, though Rose Chong's costumes were a highlight. The stage was divided into three, with the singers in front, the orchestra behind – which considerably reduced its impact – and the chorus above and behind them. The outstanding contribution came from the principals, Deborah Humble and Rosario La Spina, and the chorus (which is always outstanding). La Spina's huge, sweet tenor was ideal for Samson, but the biggest moments belong to the mezzo Delilah, and Humble relished them: sensitive, seductive, superb. Simon Meadows, Jeremy Kleeman and Eddie Muliaumaseali'i were splendid in the minor roles, while conductor Raymond Lawrence was sympathetic to composer and singers. The opera, which Camille Saint-Saëns (himself quite familiar with marital problems) takes from the Old Testament, tells of the Israelite leader who is seduced and betrayed by the vengeful Philistine Delilah. First performed in 1877, it was slow to bloom because of its biblical theme, but became immensely popular worldwide. Loading For the shortcomings, director Suzanne Chaundy – a leading force in so many of the company's recent triumphs, especially its series of Wagner operas – must take chief responsibility. The production was almost introverted, especially the climax where the blinded Samson pulls down the temple of the Philistine god Dagon, killing thousands. The bacchanal would scarcely have offended a women's temperance union. When Delilah came on stage brandishing Samson's shorn locks (the secret of his strength, symbolising his vow to God), they looked more like a dead possum. Yet, despite imperfections, Melbourne's first Samson and Delilah in 40 years was a real pleasure.
First Post
27-05-2025
- Entertainment
- First Post
Cannes 2025: Trump, Gaza, Ukraine, #MeToo, Op Sindoor Shake Festival Firstpost America
Cannes 2025: Trump, Gaza, Ukraine, #MeToo, Op Sindoor Shake Festival | Firstpost America | N18G Cannes 2025: Trump, Gaza, Ukraine, #MeToo, Op Sindoor Shake Festival | Firstpost America | N18G The 2025 Cannes Film Festival traded glamour for grit, with politics taking centre stage. Robert De Niro blasted Donald Trump, calling him 'America's Philistine president,' while Pedro Pascal urged Americans to resist fearmongering. The red carpet saw Julian Assange wearing a shirt honouring Gaza's child victims, as over 350 filmmakers signed a letter condemning silence on Gaza. Ukraine's fight was spotlighted through powerful documentaries and speeches. The festival embraced #MeToo, days after Gérard Depardieu's sentencing. Dissident Iranian director Jafar Panahi made a rare appearance after years of bans and jail. Even Aishwarya Rai's bold sindoor look made headlines, hailed as a cultural tribute. Cannes, once famously apolitical, now seems more like a protest movement in designer heels. See More
Yahoo
19-05-2025
- Entertainment
- Yahoo
Cannes Makes it Official: Nudity and 'Voluminous Outfits' Are Banned on Red Carpet
Nipples and unruly dresses are out in Cannes. Ahead of the start of the 2025 edition, the Cannes Film Festival has issued an updated red carpet dress code that effectively bans full nudity and 'voluminous' ensembles. 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival. Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater are not permitted,' per the festival on its official charter. 'The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' More from The Hollywood Reporter Robert De Niro Slams Trump as "America's Philistine President" in Powerful Cannes Speech 'Law & Order Toronto: Criminal Intent' Lands at CW Mads Mikkelsen to Star in 'Sirius,' Directorial Debut From Christopher Nolan's Editor Lee Smith The Hollywood Reporter reached out to the Cannes press office for additional comment and a festival rep confirms that the charter was just updated to reflect 'certain rules that have long been in effect.' The goal of the update is 'not to regulate attire per se but to prohibit full nudity on the carpet' in accordance with the institutional framework of the festival as well as French law, per the Cannes rep. Amid the sheer dress explosion, there have been many nipple-baring ensembles worn at Cannes in recent years by stars like Elle Fanning, Bella Hadid and Kendall Jenner, among many others. In 2022, a topless woman was escorted off the red carpet after she removed her dress in a pro-Ukraine protest. It's not immediately clear if there was one specific instance that led officials to update the charter, though red carpet nudity has become a hot topic of conversation in the wake of a stunt pulled by Kanye West and wife Bianca Censori at the Grammys that found her posing for photographers in a transparent sheath dress that effectively saw her posing nude. (As for the voluminous part, it's hard not to think of what Tems wore to the Oscars in 2023, a cloud-like white gown that obstructed the view of guests behind her in the Dolby Theatre.) Cannes security officials have notoriously been strict when it comes to dress codes at the Palais, specifically for screenings at the glamorous Grand Théâtre Lumière, which routinely hosts the auteur and A-list-packed world premieres. Black tie and evening wear is required for those screenings — held in the nighttime from 7-10 p.m. — and guidance suggests options like tuxedos and long dresses or 'little black dress, cocktail dress, dark-colored pantsuit, a dressy top with black pants; elegant shoes and sandals with or without a heel; a black or navy-blue suit with bow-tie or dark-colored tie. Tote-bags, backpacks or large bags are prohibited.' Controversy ensued a decade ago when multiple female attendees were turned away at the Palais for not wearing heels ahead of a screening of the Cate Blanchett starrer Carol. Movie stars like Emily Blunt, who was in town for Sicario, called the situation 'very disappointing,' leading others to show their dissatisfaction with the unwritten rule, which was relaxed over the course of the 2015 festival. Longtime festival chief Thierry Frémaux downplayed the fracas by calling it an unfounded rumor. Still, Frémaux has worked tirelessly to maintain the integrity of the festival by focusing some of those efforts on the look, feel and vibe of the red carpet. The festival banned selfies in 2015 (with Frémaux calling the practice 'ridiculous and grotesque') and security officials have always acted swiftly to remove protestors or anyone attempting to cause a scene for personal benefit. The new ban on nudity and voluminous outfits aligns with such codes, but it begs two questions: How strictly will the dress code be enforced, and will A-list stars and/or models be booted for flouting the rules? While 'elegant shoes' are required, megastars Julia Roberts and Kristen Stewart have both removed their heels to glide up the Palais steps barefoot. Furthermore, it wouldn't be a surprise to see relaxed rules for guests representing any of the festival's partners from brands like Chopard, L'Oreal and Kering. Some bold-faced name ambassadors from the aforementioned brands have been known to turn up at the Palais in voluminous or sheer ensembles. That means more eyes than normal will be watching the red carpet and what wild antics ensue during the 2025 Cannes Film Festival, which runs May 13-24. Best of The Hollywood Reporter From 'Lady in the Lake' to 'It Ends With Us': 29 New and Upcoming Book Adaptations in 2024 Meet the Superstars Who Glam Up Hollywood's A-List Rosie O'Donnell on Ellen, Madonna, Trump and 40 Years in the Queer Spotlight
NZ Herald
18-05-2025
- Entertainment
- NZ Herald
Pedro Pascal drops F-bomb urging filmmakers to resist Trump
Directed by horror specialist Ari Aster, it earned praise for its vaulting ambition, but Time magazine's critic was one of several who found it 'overstuffed with ideas'. Echoing a message from Robert De Niro on the opening night of Cannes, Pascal insisted that the film industry needed to find the courage to be political. 'So keep telling the stories, keep expressing yourself and keep fighting to be who you are,' he said. 'F*** the people that try to make you scared. And fight back. 'This is the perfect way to do so in telling stories. Don't let them win.' Political Cannes Trump has made himself one of the main talking points in Cannes this week after announcing on May 5 that he wanted 100% tariffs on movies 'produced in foreign lands'. De Niro, who accepted a Cannes lifetime achievement award, urged the audience of A-list directors and actors to resist 'America's Philistine president'. Many film dealmakers in Cannes this week have criticised Trump's tariff idea, with Scott Jones from Artist View Entertainment telling AFP that the idea 'could really hurt us'. The Cannes Festival on the French Riviera, which runs until next Saturday, has been highly politically charged this year, with US domestic politics as well as the wars in Gaza and Ukraine drawing strong statements. Megastars Jennifer Lawrence and Robert Pattinson ensured attention was still focused on the red carpet on Saturday, however, with the premiere of their film Die, My Love by British director Lynn Ramsay. Fellow Briton Harris Dickinson, the 28-year-old Babygirl actor enjoying a lightning rise in the film industry, also showcased his directorial debut Urchin to widespread praise. 'Be gentle with me... it's my first film so if you don't like it, break it to me nicely,' he said before the screening. 'Furies' In Eddington, Aster offers a portrait of his bitterly divided country that parodies everyone from gun-loving southern US conservatives to virtue-signalling white anti-racism activists. Emma Stone (La La Land and Poor Things) plays Phoenix's wife who gets sucked into a world of paedophile-obsessed conspiracy theorists, with one of them played by Elvis heart-throb Austin Butler. Aster admitted to worrying about America's direction and set out to dramatise it in his film, whose early social satire gradually gives way to much darker material. Advertise with NZME. Asked Friday if America's polarised politics and the breakdown in trust in the media could be setting the country on a path to mass violence, he said: 'That is certainly something I'm afraid of'. 'It feels like nothing is being done to temper the furies right now,' he added. Eddington is competing for the Palme d'Or top prize in Cannes. Critics' favourites so far include German-language drama The Sound of Falling, as well as experimental rave road-trip thriller Sirat. Last year's Cannes winner — Anora by Sean Baker — went on to triumph at the Oscars. Elsewhere in Cannes on Saturday, a man was crushed by a falling palm tree on the main seafront boulevard that is taken by celebs and film insiders every day to access the festival's venues. The unidentified victim was left seriously hurt and was taken to hospital.
