makerstrio.blogg.se - 12 labours of hercules triple pack troont

In the upcoming action-comedy, Johnson plays Bob Stone, a CIA spy who was bullied in high school and nicknamed “Fat Robbie.” Now a lethal agent, Stone has to recruit what was once the coolest kid in class (Calvin “Golden Jet” Joyner, played by Hart) to try and save the world on the eve of their high school reunion. You found that and posted that? That’s brilliant, dude,” Johnson says. “That s- went viral because of that picture. When I mention that it was in our newspaper archive, and that Johnson had been a SUNshine Boy once upon a time, the 44-year-old action star breaks into a grin. “Did you Google ‘Rock’ and ‘fanny pack’?” “How did you guys find that?” Hart says alongside Johnson in a Manhattan hotel. Jim Slotek was doing the interview when I sent him the photo. The Sun photo, which captured a ’90s-era Johnson posing with a gold chain, turtleneck and mom jeans, went viral while he was doing the press rounds for Hercules. “It was a brilliant idea, and it was mine,” Johnson tells Postmedia Network in an exclusive Canadian print interview. NEW YORK - Dwayne Johnson had a light bulb go off just before he started filming Central Intelligence, his new buddy comedy with Kevin Hart and it harkened back to his iconic SUNshine Boy photo for the Sun.

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Hamelin rewarded the crowd with the Impromptu Op. Not that the cheers were anything less than abundant. Implacable as ever at the keyboard, the pianist seemed to be in a mellow mood. 4 was taken at a particularly leisurely pace, its turbulent undercurrents either overlooked or suppressed. 61, but something in momentum was missing. There were wonders of sonority and technical finesse in the Polonaise-Fantaisie Op. Hamelin got serious at the end of the program with some Chopin. 17, a long-winded fantasy of 1920 including a songful tenor line. Then came still more gentle melancholy in Mario Castelnuovo-Tedesco’s Cipressi Op. Hamelin played “Vous qui passez sans me voir” with a touching feeling of nostalgia. If rather extravagantly ornamented, these were charming numbers, sometimes zesty, sometimes bluesy. The composer was the late pianist Alexis Weissenberg, wrongly represented by the program as still living, but the transcriber by ear (there being no published sheet music) was Hamelin himself. We were back in esoteric territory after intermission with arrangements of six songs by the much-admired French crooner Charles Trenet (coincidentally after the death of Trenet’s successor, Charles Aznavour).

Perhaps the sound of the Steinway is magnified, acoustically or psycho-acoustically, by that shiny new stage floor. Severe at the start, Hamelin impressively judged the contrasts of this great work, ranging from quiet soliloquy in the right hand to fortissimo thunder in the left (including the very lowest note of the keyboard). Perhaps one misjudgement was to program the prolix Feinberg after a top-10 masterpiece, Bach’s Chaconne in the popular Busoni transcription. Indeed, the entire performance could be characterized as a labour of Hercules except insofar as it did not sound in the slightest laborious. There was a fugue in the middle and a ghostly passage of semiquavers in octaves, both executed with admirable precision. Most challenging of all as a listening experience was the sprawling finale, a sonata in its own right that exceeded the 13 minutes predicted in the (excellent) program notes. The descending gruppettos of the not-very-martial Funeral March became clichés before this movement was done.

As promising as the opaque offbeats seemed at the start, they barely sustained the opening movement of only four minutes. This Russian composer was influenced by Scriabin but lacked the earlier master’s capacity to focus his energy and navigate with authority from key to key. I wish I could say I anxiously await a cycle of all 12.

3 of Samuil Feinberg (1890-1962) - having played the first two sonatas last year. On Tuesday he gave what was presumably the Jane Mallett Theatre premiere of the Piano Sonata No. Marc-André Hamelin is on good terms with Music Toronto, whose subscribers willingly hear the unusual repertoire this famous Canadian pianist habitually carries in his luggage. Marc-André Hamelin at Jane Mallett Theatre St. Marc-André-Hamelin Photo: Sin Canetty-Clarke)