Among movie musicals, “Singin’ in the Rain” stands as the greatest of them all. Its nearest competitors, “The Band Wagon” with Fred Astaire, or even Gene Kelly’s “An American in Paris,” produced a year before “Singin’ in the Rain,” are also just as entertaining today as when they were first released six decades ago. But something about “Singin’ in the Rain” gives it a snap that remains timeless.
In August 2010, HJ Lim performed the complete Beethoven Piano Sonatas over eight consecutive days in Paris and one year later she went on to record the complete cycle for EMI Classics with whom she now records exclusively.
In an interview with host John Clare, HJ talks about leaving two of the sonatas out (Beethoven did not approve of their publication, his brother did!) and about choosing the right tempi that Beethoven wanted.
The 1960s and 70s were a time of great experimentation and revolt. New and different were in, and young musicians, artists and filmmakers’ battle cry was “why the hell not?” In a similar vein, a Parisian film maker hired a race driver to tear across Paris in the early morning in a Ferrari at speeds up to 120 mph with a 35mm camera strapped to the hood. In that same go for broke manner the producers of the film “The Girl on a Motorcycle” approached their task.