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    Conductor John Nelson Dead at 83

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    He revived interest in a “problem child” in the pantheon of high romantic composers, bringing Berlioz overdue recognition as one of France’s greatest composers.John Nelson, a genial American conductor who made France love one of its own underappreciated musical sons, Hector Berlioz, died on March 31 at his home in Chicago. He was 83.His death was confirmed by his daughter, Kari Magdalena Chronopoulos, who did not specify the cause.Mr. Nelson made Berlioz (1803-1869), the wild man of 19th-century French music, his passion, performing and promoting his work ceaselessly during a career that stretched over 50 years on both sides of the Atlantic.As a young conductor, he introduced Berlioz’s epic five-act opera “Les Troyens” (“The Trojans”) to New York in a 1972 Carnegie Hall performance deemed “highly successful” at the time by Raymond Ericson of The New York Times.By the end of his career, Mr. Nelson was so closely identified with Berlioz, one of France’s most extravagant musicians, that the British newspaper The Daily Telegraph wrote, “John Nelson was clearly born with Berlioz in his genes.”That remark came in a 2017 review of Mr. Nelson’s much-praised recording of “Les Troyens” with the Strasbourg Philharmonic Orchestra and a cast that included the American soprano Joyce DiDonato.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Pedro Almodóvar Inspires a New Roche Bobois Collection

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      Roche Bobois reintroduces classic pieces that reflect the Spanish filmmaker’s palette.This article is part of our Design special report previewing Milan Design Week.Known for palettes that are as flamboyant as his characters, the Spanish filmmaker Pedro Almodóvar uses color as an actor with its own dramatic energy. Recently, he teamed up with Roche Bobois, also renowned for its splashy color sense, to modify classic works from the French furniture company’s catalog that will be introduced in Roche Bobois’s Milan showroom during the city’s Design Week.The Lounge sofa, for example, a precursor of the company’s modular Mah Jong seating that was originally designed in 1971 by Hans Hopfer, is being reissued in an edition of 50 for this occasion. Each sofa will feature iconic images from Almodóvar movies and film posters, and will be signed and numbered by the director.Also on view will be the 11-year-old Bubble sofa, designed by Sacha Lakic. Bubble will be shown in four new colors — sky, moss, sun and fiery red — that are heroes of Mr. Almodóvar’s most recent film, “The Room Next Door,” a meditation on friendship and death starring Tilda Swinton and Julianne Moore, which was released late last year. (The sofa itself has a cameo in that movie, popping up in a scene set in a gym.)A rendering of Roche Bobois’s updated Lounge sofa, which is being reissued in a limited edition and has the bright colors and iconic images from Almodóvar movies and film posters.A sideboard from Roche Bobois’s Rondo collection has been updated with new door panels featuring designs inspired by film posters and Almodóvar’s own still-life photos. The director also designed rugs and cushions that have movie poster motifs, including the floral pattern representing “Volver” (2006), the heavily mascaraed eyes from “Women on the Verge of a Nervous Breakdown” (1988) and the deadly stiletto signifying “High Heels” (1991).Apart from the limited-edition Lounge sofa, the collection will be available for purchase in mid-September, in Roche Bobois stores.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘When Fall Is Coming’ Review: Cooking Up a Mystery

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      With her kind eyes and guileless smile, Hélène Vincent plays a sweet old French lady. But looks can be deceiving in this François Ozon film.For “When Fall Is Coming,” the French filmmaker François Ozon has cooked up a little mystery and an enigmatic heroine. A sleek, modestly scaled entertainment about families, secrets and obligations, it features fine performances and some picture-postcard Burgundian locations. It’s there in the heart of France, in a picturesque village in a large, pretty house, that Michelle (Hélène Vincent) makes her home. With her kind eyes, guileless smile and upswept hair, she looks the very picture of a sweet old lady. Looks can be deceiving, though, as we’re reminded, and as Ozon’s movie goes along, that picture grows amusingly slyer.Ozon’s efficiency and polished style are among his appeals — his films include “Under the Sand” and “Swimming Pool” — and he lays out this movie with silky ease. In precise, illustrative scenes he takes you on the rounds with Michelle, mapping her pleasant environs, charting her routines and introducing her small circle of intimates, including another local, Marie-Claude (Josiane Balasko), a longtime, charmingly earthy friend. For the most part, the pieces fit together, though a few things seem off. For one, Marie-Claude’s son, Vincent (Pierre Lottin), is in jail when the movie opens (though soon out); for another, Michelle’s daughter, Valérie (Ludivine Sagnier), is viscerally, inexplicably, hostile to her mother.Michelle’s life and the setup seem so pacific that the movie initially teeters on the soporific; which works as a sneaky bit of misdirection. Because just when everything seems a little too frictionless, someone prepares poisonous mushrooms for lunch, and someone else eats them, a turn that puts you on alert (where you stay). Ozon, who also wrote the script, continues to lightly thicken the plot but also withholds information, and before you know it, this obvious story has become an intrigue. One bad thing leads to another (and another), and the air crackles with menace. Michelle and Valérie argue, Marie-Claude falls seriously ill, Vincent takes a suspicious trip. Yet the more that things happen, the less you know.Ozon sprinkles the story with hints, summons up the ghost of Claude Chabrol (bonjour!) and, during one vividly hued autumn walk, evokes Grimm’s fairy-tale “Snow-White and Rose-Red,” about two sisters. He also foregrounds doubles: The sisterly Michelle and Marie-Claude don’t have partners, and each has a difficult adult kid. Despite their nominal similarities, Valérie and Vincent are notably different; he and his mom are openly loving, for one. By contrast, the minute that Valérie and her son, Lucas (Garlan Erlos), drive in from Paris to visit Michelle, the mood turns ugly. Valérie is petulant and nakedly greedy, and she soon asks for Michelle’s house. “I’ll owe less in taxes when you die,” she says before taking a swig of wine.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Ravel Work Premieres at the New York Phil After Nearly 125 Years

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      A prelude and dance by the French master recently surfaced in a Paris library. Gustavo Dudamel and the New York Philharmonic will give the world premiere.The conductor Gustavo Dudamel has premiered dozens of pieces in his career.But the score that he was giddily studying on a recent afternoon at Lincoln Center was different: a nearly 125-year-old piece by the French composer Maurice Ravel that had only recently surfaced in a Paris library.“Imagine more than 100 years later discovering a small, beautiful jewel,” Dudamel, the incoming music and artistic director of the New York Philharmonic, said in an interview at David Geffen Hall. “It’s precious.”On Thursday, Dudamel and the Philharmonic will give the world premiere of the five-minute piece as part of a program celebrating the 150th birthday of Ravel, one of the leading composers of the 20th century, whose works include “Boléro,” “Le Tombeau de Couperin” and “La Valse.”The newly found piece, “Sémiramis: Prélude et Danse,” was written sometime between 1900 and 1902, when Ravel was in his late 20s and sparring with administrators at the Paris Conservatory, where he studied piano and composition.The work, from an unfinished cantata about the Babylonian queen Semiramis, reveals a young musician still honing his voice and looking to others, like the Russian composer Rimsky-Korsakov, for inspiration. “Sémiramis” lacks some of the lush textures and rich harmonies for which Ravel would become known — he was a master of blending French impressionism, Spanish melodies, baroque, jazz and other music — though there are hints of his unconventional style.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      French Cinema Celebrates Its Covid Recovery

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      The French movie industry has been celebrating statistics that show an increase in movie attendance.Ronald Chammah, who owns a pair of small cinemas on the Left Bank of Paris, remembers well the grim days in 2022, when he wondered whether the French passion for moviegoing — a pastime that France invented 130 years ago — had been irreparably diminished by pandemic lockdowns.But that was then. On a recent afternoon, Mr. Chammah was sitting in a packed Parisian cafe happily describing the Sunday in late November when he sold out screenings from a roster of Armenian art-house directors — Inna Mkhitaryan, Artavazd Pelechian, Sergueï Paradjanov — known mostly to hard-core film buffs.“That day, we broke the record for our theaters,” Mr. Chammah said with a note of astonishment. “It was full, all day long — sold out, sold out, sold out.”The global movie business had a disappointing 2024, thanks in part to Hollywood strikes. At the Oscars on Sunday, Sean Baker, winner of best director for “Anora,” used his acceptance speech to lament the pandemic-era loss of hundreds of American movie screens. “And we continue to lose them regularly,” Mr. Baker said. “If we don’t reverse this trend, we’ll be losing a vital part of our culture.”But in France, there has been a more celebratory feeling of late, with fresh statistics suggesting that its audiences are leading the way in returning to what are lovingly known as “les salles obscures” — the “dark rooms” of their movie theaters.That celebration was infused with a very French idea about citizens’ moral obligation to support the arts and to do so somewhere other than at home. The Institut Lumière, a film society based in Lyon, declared that last year’s French admissions numbers amounted to a triumph over both the pandemic era and the “invasive digital civilization” of scrolling and swiping.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Charles Dumont, Who Wrote Enduring Melodies for Édith Piaf, Dies at 95

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      His dozens of songs included “Non, Je Ne Regrette Rien,” a powerful anthem of redemptive love that became one of Piaf’s signature songs.Charles Dumont, who wrote the music for “Non, Je Ne Regrette Rien,” the soaring song about sweeping away the past to find love anew that the hallowed but troubled singer Édith Piaf turned into an anthem of French culture, died on Nov. 18 at his home in Paris. He was 95.His death was confirmed by his daughter Sherkane Dumont.Mr. Dumont had a prolific career, writing melodies for the likes of Jacques Brel, Juliette Gréco and Barbra Streisand and music for French television and film. In the 1970s, he embarked on an award-winning career as romantic crooner.Still, it was the roughly 30 songs that he, with the lyricist Michel Vaucaire, wrote for Piaf — the diminutive and radiant chanteuse known as the Little Sparrow — that, by his own admission, defined his career. “My mother gave birth to me, but Édith Piaf brought me into the world,” Mr. Dumont said in a 2015 interview with Agence France-Presse.“Non, Je Ne Regrette Rien” (“No, I Regret Nothing”), introduced in 1960, became a definitive song for a definitive French singer, a woman who became not just a global star but also a cultural ambassador for her country.With its martial solemnity, the song had the feel of a patriotic anthem, which gave power and drama to lyrics that express, in blunt and defiant terms, a rejection of past memories, both good and bad, while moving toward a new future.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Dahomey’: Mati Diop’s New Documentary on the Painful Legacy of Looted Artifacts

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      Mati Diop examines the fate of 26 treasures — sometimes from their point of view — looted from Benin in 1892.There are many voices in Mati Diop’s new documentary, “Dahomey” (in theaters), and one of them belongs to Artifact No. 26. “I lost myself in my dreams, becoming one with these walls, cut off from the land of my birth as if I was dead,” it says in French, its timbre tweaked to contain both a low rumbling bass and a higher, more feminine sound. “Today, it’s me they have chosen, like their finest and most legitimate victim.”Artifacts technically do not talk, but this imaginative element frames the rest of Diop’s film. The movie comprises mostly observational footage shot during the shipping and repatriation of 26 objects that France had looted from the kingdom of Dahomey (now Benin) during the invasion of 1892. They had resided until 2021 in Paris, in the Quai Branly museum, which houses Indigenous art and cultural items from Africa, Asia, Oceania and the Americas.The return of those 26 antiquities was part of a much bigger story that began with a report on the restitution of African treasures commissioned by President Emmanuel Macron of France in 2018. That November, he announced that the items would be handed over, and that his government would study and consider giving back other objects removed from African nations without consent. He stopped short of following the report’s full recommendation, which was to return all items if asked. The move kicked off years of debate among former colonial powers in Europe, including Germany and Britain, about similar treasures in their national museums and archives.It took years to actually give back those initial 26, which included effigies of the rulers King Behanzin and King Glélé, two thrones and four painted gates from Behanzin’s palace. “Dahomey” homes in on their fate as a way of exploring the complexity of the very act of repatriation — not for the Europeans, but for the Beninese. We watch conservators and curators carefully pack everything up. (The camera briefly takes the point of view of Artifact No. 26, with the sounds of screws going into the top of the crate and then noises of transit.) They’re then unloaded in Benin, and officials arrive for the occasion.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares149 Views

      in Theater

      ‘La Haine’ Is Back (as a Musical This Time)

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      Mathieu Kassovitz has turned his cult 1995 movie into a stage musical. The France it represents is different — though much hasn’t changed.Watching the musical “La Haine” is a bit like looking at a beloved’s face under water: It’s familiar, but distorted.Almost three decades after Mathieu Kassovitz’s classic film became a political sensation and cult hit in France, the actor and director has transformed it into a stage show that opens at the Seine Musicale in Paris on Oct. 10 before touring the country.The musical tells the same haunting story of three close friends from Paris’s neglected suburban projects who, in the aftermath of a lethal confrontation with the police, go on a rambling journey into the capital with a gun and a thirst for vengeance.The same young men take center stage — the angry white character of Vinz, originally played by Vincent Cassel; the wise Black boxer Hubert; and the joker Saïd, of North-African descent — and repeat many of the movie’s lines, which became classics in French culture. A clock counts down the same way throughout, rushing toward the same terrible end.The most significant differences, of course, are the song and dance numbers, produced by some of the biggest names in French music, including the rapper Youssoupha and the pop star Matthieu Chedid, who goes by M. Although the film was saturated with hip-hop culture, it featured very little actual music. The soundtrack was urban percussion — roaring motorcycles and hissing trains.“I’m very curious to see how people react to it, because it’s close enough to the original movie so that people can feel comfortable. And far enough so people don’t feel betrayed,” Kassovitz, now 57, said in an interview during a rehearsal break, two weeks before opening night. “I’m dancing on a thin line.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      With ‘Drag Race France Live,’ France’s Drag Queens Answer Hatred With Glitter

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      Answering hatred with glitter is a time-honored drag tradition that France’s answer to “RuPaul’s Drag Race” is keeping alive in a new stage spectacle.The Paris Olympics may be over, but the event is still on the minds of many in the city — and not just sports aficionados. On Tuesday, the audience at “Drag Race France Live,” a stage version of France’s “RuPaul’s Drag Race” equivalent, erupted in cheers at the mere mention of the Games’ opening ceremony.The host of both shows, the drag queen Nicky Doll, made jokes about her own appearance in the outsize display on the Seine river, which was directed by Thomas Jolly. Then she hinted at the international backlash to the tableau she took part in, which some people read as a mockery of the biblical Last Supper — or even a display of Satanism.“If I’m a Satanist, I sold my soul for waterproof products,” Nicky Doll told the crowd, referring to the downpour of rain that marred the show in July.For French drag, the Olympics’ opening ceremony came at a pivotal moment.France was relatively late to embracing American-style drag: While the country has a long cabaret tradition, it used to favor “transformiste” drag performers, who impersonate real-life artists instead of creating a character of their own. “Drag Race France,” the TV show, didn’t premiere until 2022. (“RuPaul’s Drag Race” first aired in 2009.) Yet the French show’s winners, and Nicky Doll, quickly became mainstream figures. The inclusion of drag queens in the opening ceremony pointed to their newfound prominence within French culture.Yet what could have been a moment of cultural consecration soon turned sour. Shortly after the broadcast in July, a number of conservative figures in France and abroad took aim at the scene featuring drag queens. In it, the queens gathered around a table surrounding the DJ and activist Barbara Butch, who wore a halo-like headdress. While Jolly denied that the tableau was inspired by Leonardo da Vinci’s “The Last Supper,” describing it instead as “a grand pagan festival,” he was nonetheless accused of insulting Christianity and received death threats.Nicky Doll performing in Cannes, France, in May. The Olympics opening ceremony, which she took part in, drew ire from right-wing activists and some Christians.Jerome Dominé/Abaca/Sipa USA, via Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More