After Bowie came le deluge.
Thursday and June 24 and continuing through June 30 comes "Le Corsaire," a fine excuse for bravura dancing.
Then, in October, came "Le Suicide Français," the Figaro columnist Éric Zemmour's treatise on the unravelling of France, which sold out its entire first printing in one week.
Next comes "Le Rossignol" ("The Nightingale," set in China, after Hans Christian Andersen and choreographed by Frederick Ashton) and the brief but monumental opera-oratorio "Oedipus Rex," in Latin.
In a similar spirit of inclusivity and somewhat confused aims comes "Le Cirque Féerique" ("The Fairy Circus"), choreographed and directed by Austin McCormick for his Company XIV at the 303 Bond Street Theater in Brooklyn.
Then came "Le Grand Macabre" in 1997, a production of striking beauty and weirdness that won both Mr. Sellars and this mordantly satiric, musically arresting opera many new admirers, even if Mr. Ligeti himself loudly dissented, at least at first.
At the group's November meeting, held at the New Milford home of Carolyn Barbolini, 15 people sipped Chianti and pinot grigio while taking turns reading passages from the play "Come Le Foglie," about a dysfunctional family in Italy.
"The Day the Rains Came" ("Le Jour où la Pluie Viendra") was successfully recorded by Jane Morgan; "Let It Be Me" ("Je T'Appartiens") had versions by the Everly Brothers, Bob Dylan, Roberta Flack and Sonny and Cher.
In May 2006, she appeared in the movie Come le formiche (Wine and Kisses) with F. Murray Abraham, filmed in Italy, playing a rich American who becomes involved with an Italian family that owns a vineyard.
"These were real artists coming from les Beaux Arts or art schools," he says.
An article last Sunday about the coming film "Le Divorce" misidentified the purchaser of the rights to the novel of that name by Diane Johnson.
