![]() ![]() That of the new writing that was being produced in the French theatre ![]() ‘Theĭivine Sarah’ as she was to become known was the most formidableĭramatic actress of the period. Talent on stage that remains the outstanding legacy of her life. One of the most unusual tragedies associated with this opera came not from the pen of Victorien Sardou but, never the less, befell Tosca not any Tosca but the first and without doubt the most famous – Sarah Bernhardt.īernhardt’s controversial personal life is a biographer’s dream andĬlearly added to the legend that she was to become, but it is her Tosca is an opera of many victims, some fictional, some real – where an operatic ménage à trois is extrapolated into an orgy of bloodshed, torture and death. The New York Times on Sarah Bernhardt’s performance in Sardou’s play ‘La Tosca’ ![]() There is not much of play, a mere outline at best, made to fit like a glove the talent and personality of Bernhardt who is all and everything, but who should or could complain? The interest never slackens there is enough dialogue and apropos to keep both gratification and amusement entertained, and the story enobles itself magically in the hands of the greatest living actress. ![]()
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