A Shakespearian moment at Stratford…

A Shakespearian moment at Stratford…

May 25, 2008

Season Opening time for the Festival…Garden party this afternoon. On the grounds of this grand old Victorian residence, the Alexandra Estate; party proudly hosted by the current owners Alex and Shirley Jackson (built by a retired judge towards the end of the 19th century, Alex explains to us – they also operate a B&B http://www.alexandrainn.ca/index2.html ; running B&B’s is very popular occupation in Stratford, and for good reasons!). Under a huge canopy, in case of rain as they had preceding years; not this year though as we are blessed by a radiant sun!

Some 200 guests I would say, in summer and “garden party” gears; champagne and wine flowing freely. Many retired people and long-standing patrons of the Festival; many Americans too – met a few from Michigan and New-York states. Following Cynthia, doing the round, greeting people she knows and meeting people she doesn’t know – she is so good at this! Happy just to go along…

Learn quite a bit about Stratford too. Festival of course is key to the city, but also the winter arts activities, including a jazz festival which brings in quite a few aficionados. And the industrial part of it, a nearby auto parts plant – Toyota I think that has replaced departing American automakers. And the $10M University campus coming up, as part of the nearby Waterloo University, growing on the strength of Research-in-Motion’s astonishing growth and wealth (RIM is the inventor and manufacturer of the BlackBerry)

Simple dinner at a favorite local pizza joint: Pazzo (http://www.pazzo.ca/); sitting at the counter, at the corner, has become customary…


May 26,

Breakfast as a guest of Susan & Larry, an American couple operating a B&B here for the last couple of years; good friends of Cynthia (who is at work as we breakfast). We go to Foster’s Inn as Susan reckons it is the best breakfast place in town – don’t know if it is the case but I would agree it is good – egg Benedict on steamed spinach and smoked salmon, a favorite of mine and it’s a delicious one! (http://www.fostersinn.com/home.html)


Main event: the Opening Night. A formal affair; black tie and evening gown. Champagne cocktail in the foyer of the Festival Theatre, followed by a sitting dinner in the long glassed hall facing the Avon River. At our table Bert Carrière and his wife Nancy (Bert is retiring music director of the Festival and a member of SOCAN; Nancy tells me all about their recent, 3-week tour of India; she is thrilled that I can corroborate some of her comments and impressions!); Richard Costley-White and his wife Caitlin Adamson (Richard is a member of the Festival’s Board of Directors, and owner of a chain of radio stations in Southern Ontario; based in London, Ont.; knows SOCAN well as he pays us license fees…Caitlin – probably Gaelic for Catherine – is from Wakefield, an outdoor woman who worked at Whistler as trekking guide and also who went down rivers in B.C. before “settling” – she’s got 2 wonderful toddlers whom we met at the garden party…); Marg Rappolt, and her escort for the night, Lisa Clements (Marg is current deputy minister for Ontario’s Ministry of Culture; classic trajectory for senior bureaucrats – graduate from Queens in Public Administration; stint in Saskatchewan with her husband; returned to Ontario public service; couple of other DMships – speaks and has the manners and behavior of a senior bureaucrat…her date Lisa is a politico; works in the Minister’s office; keen on all the politically savvy things – China, the Liberal party of Ontario, etc…). Elegant dinner – shrimp and Dungeness crab, with a Goundrey Chardonnay; pan-fried breast of Guinea fowl, served with an Inniskilin Cabernet Franc; chocolate cream with zabaglione – prepared by local famed Rundles restaurant.

Discours d’usage: le président du Conseil, le commanditaire (SunLife Financial Canada); le député provincial ; le député fédéral, le maire, puis le directeur du Festival, Antoni Cimolino (voir plus bas), et enfin le directeur artistique, Des McAnuff qui dirige la pièce d’ouverture, Roméo et Juliette. McAnuff est de stature internationale, l’homme derrière le « Jersey Boys », présentement sur Broadway, et semble-t-il la cause première de la démission récente des deux autres directeurs artistiques qui devaient ensemble constitués le triumvirat de la relève du Festival…scandale local qui à tout de même fait la une des journaux de Toronto, et relevé par le New York Times…

Et puis « Roméo et Juliette ». Bien réussi ; sauf que je comprends mal le début et la fin en cadre moderne, moto-bicyclettes et mitrailleuses à l’appui – sans doute une façon de vouloir surprendre et de se différencier des centaines d’autres productions de la pièce…les deux protagonistes font du bond travail, mais la voix de Gareth Potter en Juliette porte peu…La critique le lendemain est mixte…

Dernier verre à la sortie, pour se mêler avec la faune théâtrale ; félicite McAnuff ; longue conversation sur le parvis avec la célébrité du moment, l’acteur Brian Dennehy, à Stratford pour jouer Krapp's Last Tape & Hughie, plus tard dans la saison. Journée et soirée bien remplies…

Repart le lendemain par train sur Toronto. Cynthia reste – une ouverture par soirée pour le reste de la semaine…Nous reviendrons tout au cours de l’été; on aura jamais vu autant de Shakespeare et de théâtre je dois avouer que cette saison…

Le 28 mai 2008

P.S. les remarques de Cimolino au dîner :
ANTONI CIMOLINO
SEASON OPENING NIGHT
MONDAY, MAY 26, 2008

I’m delighted to welcome you to this, the 56th season of the Stratford Shakespeare Festival.
It’s a very exciting time for us: our first season under our new artistic director, Des McAnuff, whose production of Romeo and Juliet you’re seeing tonight.
It’s one of five great Shakespeare productions we’re presenting this season, along with all the other variety our patrons and supporters have come to expect: two spectacular musicals, a Greek tragedy, a double bill of one-act plays by Samuel Beckett and Eugene O’Neill (both starring Tony Award-winning actor Brian Dennehy), a play from the Golden Age of Spanish drama (something we’ve never done before), and the world premières of plays by two outstanding Canadian playwrights, Joanna McClelland Glass and Morris Panych.
Later in the season, we’ll have Christopher Plummer starring in a production of George Bernard Shaw’s Caesar and Cleopatra, along with tonight’s Juliet, Nikki M. James.
Also later in the season, Simon Callow, whom many of you will recognize from the film Four Weddings and a Funeral, will be here to perform his own one-man show on Shakespeare’s sonnets.
We’ll even have a play in German: the Deutsches Theater Berlin’s sensational production of Emilia Galotti, which has been garnering rave reviews everywhere it has gone.
But don’t worry: there will be surtitles.
And we have yet another innovation to look forward to: Peter Hinton’s open-air presentation of Shakespeare’s Universe, a multidisciplinary experience that will give you fascinating insights into the world in which Shakespeare lived and wrote.
All this and a new lobby too, which is going to be a great venue for the party after tonight’s show.
A renewed focus on Shakespeare and the classics, a greater connection to the international theatre community, and a strong commitment to the development of Canadian artists – these are the three cornerstones of our future.
I’m thrilled to be working with Des to build that future, and I hope that you’ll share the excitement we both feel tonight as we stand on the threshold of a whole new era.
New, but not disconnected from our past. Everything we’re doing this year – the emphasis on Shakespeare, the international outreach, the development of Canadian artists – springs directly from the vision of our founders.
When this Festival began in 1953, it was founded on those very same principles. What we’re doing is recapturing the sense of innovation, of surprise, of risk-taking and, ultimately, of triumph that attended that first season, while still remaining true to our roots and core values.
It’s going to be an amazing season, ushering in an amazing future. I hope you’ll all continue to be part of that future.
Thank you.

A few restaurants in Paris...

A few restaurants in Paris…

A good friend of ours was asking about restaurants in Paris – I undertook to provide him 10 that I know. So I got back to my notes. Don’t know if that makes 10, but here are some.

First the brasseries: Bofinger, near place de la Bastille, probably the oldest and better known in Paris; Alsacian in style; seafood and choucroute are the specialties. Awfully busy when we had dinner there Cynthia and Laurence in 2000; suspect it is always like that. Great atmosphere! Same Chez Lipp, another well-known and busy brasserie on St-Germain; last dinner there earlier this year.

While on St-Germain, I have a weakness for Les Deux Magots, because of the literary connection to Simone & Jean-Paul I suppose, and because of its proximity to that lovely boutique hotel where I stay when I can, L’Abbaye de St-Germain.

Memorable feast, mainly on asparagus-inspired dishes (“en saison” then), at Le Café de la Paix, at the Grand Hotel Intercontinental, near or on Place de l’Opéra if I recall, on a professional occasion a couple of years ago.

Two solid, French-cuisine ones, hosted there by a good French colleague of mine and his wife: Chez Françoise, near les Invalides and a favorite of French parliamentarians as the Assemblée Nationale is nearby, and L’Auberge Bressane, on avenue de la Motte-Piquet, in the 7e, where le poulet de Brest is “de rigueur” and delicious.

A few discoveries of our own: Vins des Pyrénées, a small “estaminet” in the Marais, where Cynthia and I had a wonderful lunch; that was at least 8 years ago and I don’t know if it is still around – Google may know! La Méditerranée, in the 5e or 6e arrondissement, near Place de l’Odéon. Seafood as the name implies, but also the wines, one in particular, Pouilly-Fuissé, 2002 "Cuvée Henri", recommended by Jean-Charles, the manager, very particular about organic wines, who also recommended a wine store in town, Louis Vins, 9 rue de la Montagne Ste-Genevieve nearby (http://www.fifi.fr/). Jean-Charles has even his own site: http://www.vinpur.com/.! La Petite Cour, rue Mabillon in the 6e, giving on a small courtyard (you would have guessed!) “en contrebas”; romantic, quiet when we were there. Good meal but I remember it more for the conversation we had with the three matured women sitting beside Cynthia & I, from Spain, Argentina and Switzerland!

A last one – and I think that makes 10 – L’Angle du Faubourg, on Faubourg-St-Honoré (literally across the street from where I lived a glorious summer some 35 years ago!). Invited by another good French colleague of mine who knows his cuisine and wine. Very chic, très “in”; what you would call a “restaurant gastronomique”…with “l’addition” that goes with it!

There we go, Ed!

May 17, 2008

Un long week-end à New-York - mai 2008

Un long week-end à New-York

3 jours d’activités culturelles à New-York ; une tradition? Suffirait-il de 2 fois en 2 ans ? Et pour voir les filles et Eric.

30 avril.
Sommes descendus à l’hôtel the Pod, sur la 51e entre la 2e et la 3e ; l’ancien Pickwick Arms, apprend-on, sérieusement retappé. Dans le cœur du mid-town, côté est. Compact, très hip – haute vitesse sans fil, téléviseur écran plat, « iPod craddle ». Chambre lit double ; ne fait pas plus de 12’ par 12’. Salle de bain très étudiée dans l’art de l’aménagement de l’espace ! Douche, genre pluie douce. Somme toute, çà rencontre nos besoins, étant donné la proximité relative des théâtres…et le prix des hôtels à New-York… http://www.thepodhotel.com/

Dîner au chic et hip DB Bistro Moderne, avec André et France.
http://danielnyc.com/dbbistro/


1er mai.
Après une journée de travail pour moi, retrouvons les filles et Eric en soirée, pour un verre et une bouchée; aboutissons dans un bar sushi, un de ceux-là très nombreux dans Manhattan.


2 mai.
Visite au Neue Galerie Museum, Klimt

A good look at the “portrait of Adele Bloch-Bauer”, the original, in this museum since last year. This painting, as I understand it, had a long history and voyage. Commissioned first by the Jewish family Block-Bauer in Vienna at the turn of the century, it was stolen by the Nazis at the time of the Anschluss in 1938; then restituted to the Austrian Government after the war. It is then when the heirs to the family went after the government in courts to get its property back, to succeed only in 2006, at which time Adele’s heirs sold it to Ronald Lauder (for a reported US$135M!), one of the 2 founders of the Neue Galerie. (pour plus: http://fr.wikipedia.org/wiki/Portrait_dI)

Well-worth seeing, along with the whole exhibition, rather small in terms of paintings (only 8) but lots of drawings and vignettes of Klimt’s history, including a reproduction of paintings he made to celebrate the 4th movement of Beethoven 9th symphony, which was prepared for an exhibition of the Succession Group in Vienna, and that were save when transferred to adorn the large living room of an industrialist’s home in Belgium! Klimt is all about women and clothing (with jewelry, a good sample of them are in the adjoining exhibition, the “Wiener Werkstatte Jewelry” see below the exhibition’s description). His drawings, mostly croquis in preparation for paintings, are very explicit, putting in evidence the pelvis region of the body… More on Klimt at http://en.wikipedia.org/wiki/Gustav_Klimt

Klimt is at the center of this intense period known as “Turn-of-the century Vienna”, a time when converged in Vienna several cultural, social and intellectual currents that were to mark the rest of the century: Gustav Klimt, Egon Schiele and others around the Secession Group for painting; Gustav Mahler for music; Adolf Loos and Josef Hoffmann for architecture, Sigmund Freud, Alfred Adler for psychology, Ludwig Wittgenstein for philosophy (neo-positivism), and Josef Popper for social theory (utopia). Inspired me to buy “Vienna 1900” book, a collection of essays on the period by Austrian and German scholars, well illustrated.

From Neue Galerie’s website http://www.neuegalerie.org/main.html?langkey=english:

GUSTAV KLIMT: THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONSOctober 18, 2007 - June 30, 2008
On October 18, the Neue Galerie New York opens “Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collections,” with eight paintings and more than 120 drawings by the controversial artist, on view together for the first time. The exhibition will also feature a reconstruction, with original furnishings, of the receiving parlor from the second Klimt studio. “Gustav Klimt” unites the collections of Ronald Lauder and Serge Sabarsky, co-founders of the Neue Galerie, and will fill all the gallery spaces in the museum. Together their collections comprise the finest gathering of works by Klimt in the United States. The exhibition is organized by Renée Price, Director of the Neue Galerie. This is its sole venue, where it will be on view through June 30, 2008.
“Gustav Klimt is an artist of paramount importance in the development of modern art,” said Ronald S. Lauder, President of the Neue Galerie. “He is central to our museum’s collection and mission.”
“Klimt’s work embodies the quintessence of fin de siècle Vienna: its richness, its sensuality, and its capacity for innovation,” said Renée Price, Director of the Neue Galerie. “It is a tremendous honor to present this remarkable exhibition at the Neue Galerie, which has become the premiere destination outside of Austria for admirers of the art created by this complex and very private man.”
This exhibition is the first museum retrospective of the work of Gustav Klimt ever held in the United States. Klimt was little known in the United States during the first half of the twentieth century. In the decades immediately following his death, there was virtually no American interest in the artist. His reputation gradually began to grow in the 1960s, with Klimt eventually reaching cult status. Today, he is internationally recognized as a major figure of twentieth-century art.
Besides paintings and drawings, the exhibition will contain rare vintage documentary material, ranging from letters, photographs, and personal effects, such as the artist’s cufflinks and seal (both designed by the architect Josef Hoffmann), to the only known surviving example of the painting smock that Klimt wore.
As a special addition to the exhibition, the Neue Galerie is presenting the re-created interior—based on original floor plans and a 1912 photograph—of the receiving room from Klimt’s studio at Josefstädter Strasse 21, Vienna, which was occupied by the artist from 1892 until the summer of 1912. The display includes the original furnishings designed by Josef Hoffmann, executed by the Wiener Werkstätte, and generously loaned from the collection of Ernst Ploil, Vienna. The installation will be accompanied by period music, including works by Beethoven, Brahms, and Schubert that Klimt was known to have admired…

WIENER WERKSTÄTTE JEWELRYMarch 27 - September 1, 2008
On March 27, 2008, the Neue Galerie opens “Wiener Werkstätte Jewelry,” with more than forty precious objects drawn from public and private collections. The exhibition will highlight masterpieces created by the Wiener Werkstätte between the firm’s inception in 1903 and 1920. It will feature significant pieces by Josef Hoffmann, Koloman Moser, Carl Otto Czeschka, and Dagobert Peche, among others. Supplemental materials will include design drawings and photographs of prominent clients, with an emphasis on fashion designer Emilie Flöge, confidante of Gustav Klimt, who assembled a large collection of Wiener Werkstätte jewelry.
The exhibition is organized by Janis Staggs, Assistant Curator, Neue Galerie New York. It will be on view at the Neue Galerie through September 1, 2008. Additional venues will be announced.
The Wiener Werkstätte, or Vienna Workshops, was established in 1903. The firm’s artistic co-founders—Josef Hoffmann and Koloman Moser—subscribed to the English Arts and Crafts ideal of exceptionally well-made objects designed by artists and executed by specialized craftsmen. Jewelry was among the first objects produced by the firm. Following the example of near contemporaries René Lalique and Louis Comfort Tiffany, Hoffmann and Moser shared the belief that jewelry should be valued for its artistic merit and not simply for its monetary value…

Lunch at the Balcony Café, at the Metropolitan Museum of Art. Glimpse at Courbet, the same retrospective I had seen in Paris last year, with the iconic “l’origine du monde” painting… (See blog October 2007 – Un week-end à Paris)

Theater
August: Osage County
Music Box Theatre

Description
Tracy Letts’s scorchingly funny play is the dysfunctional-family drama supersized: a hideous, bulging scrapbook of misery, grudge-holding and poisoned heritage. The work’s three acts possess the heft and weave of lifetimes, but are leavened by the author’s dark humor and fondness for pulpy flourishes. The result is a tremendous achievement in American playwriting, a tragicomic populist portrait of a tough land and its tougher people. Deanna Dunagan is delectably bilious as the drug-addled, splenetic matriarch. And the entire Steppenwolf Theatre Company cast shines in Anna D. Shapiro’s whip-smart, rollicking production. Winner of the 2008 Pulitzer Prize for Drama.—David Cote (TimeOut NYC)

Description is right on! Intense, harsh, yet full of humoristic moments, if not for the extreme situations that are led to! 3h25min – leaves you psychologically exhausted.


3 mai
Visites de musées continue; avec Laurence, Eric et Dominique.
D’abord les japonais au Brooklyn Museum of Art. Les prints de l’école Utagawa, fin XVIIIe, jusqu’au début XXe. Puis, l’attraction du jour : Takashi Muratami. Chose assez inusité : Une boutique de Louis Vitton, dont la marque de commerce est associée à certaines créations de Muratami, fait partie intégrante de l’exposition !

Extraits du site du musée:
Utagawa: Masters of the Japanese Print, 1770–1900 presents more than seventy prints from the renowned Van Vleck collection of Japanese woodblock prints at the Chazen Museum of Art, University of Wisconsin–Madison and approximately twenty prints from the Brooklyn Museum. The Utagawa School, founded by Utagawa Toyoharu, dominated the Japanese print market in the nineteenth century and is responsible for more than half of all surviving ukiyo-e prints, or “pictures of the floating world.” Colorful, technically innovative, and sometimes defiant of government regulations, these prints were created for a popular audience and documented the pleasures of urban life and leisure. The prints represent famous places, landscapes, warriors, and kabuki actors; they were reproduced in books, posters, and other printed materials for mass consumption, and they fed a thriving Edo publishing industry.

Murakami: The most comprehensive retrospective to date of the work of internationally acclaimed Japanese artist Takashi Murakami includes more than ninety works in various media that span the artist’s entire career, installed in more than 18,500 square feet of gallery space.
Born in Tokyo in 1962, Murakami is one of the most influential and acclaimed artists to have emerged from Asia in the late twentieth century, creating a wide-ranging body of work that consciously bridges fine art, design, animation, fashion, and popular culture. He received a Ph.D. from the prestigious Tokyo National University of Fine Arts and Music, where he was trained in the school of traditional Japanese painting known as Nihonga, a nineteenth-century mixture of Western and Eastern styles. However, the prevailing popularity of anime (animation) and manga (comic books) directed his interest toward the art of animation because, as he has said, “it was more representative of modern day Japanese life.” American popular culture in the form of animation, comics, and fashion are among the influences on his work, which includes painting, sculpture, installation, and animation, as well as a wide range of collectibles, multiples, and commercial products.

The exhibition © MURAKAMI explores the self-reflexive nature of Murakami’s oeuvre by focusing on earlier work produced between 1992 and 2000 in which the artist attempts to explore his own reality through an investigation of branding and identity, as well as through self-portraiture created since 2000. Two works examining these subjects were a part of a group show, My Reality: Contemporary Art and the Culture of Japanese Animation, presented at the Brooklyn Museum in 2001.

Among the works included in this large-scale survey tracing the trajectory of Murakami’s artistic development are many of his acclaimed sculpture figures including the 23-foot-high Tongari-kun (2003–4); Miss Ko2 (1997), a long-legged waitress who has become one of the artist’s signature characters; and Hiropon (1997), a Japanese girl jumping a rope created by milk spurting from her gargantuan breasts. Among the paintings on view will be Tan Tan Bo (2001), as well as Tan Tan Bo Puking—a.k.a. Gero Tan (2002).

Puis visite au PS1, une succursale du MoMA située dans le Queens. Place d’abord à une rétrospective de l’art féministe des années 60 et 70 (on a fait un bout de chemin depuis !) et puis du finlandais

Extraits du site du musée :
WACK!: Art and the Feminist Revolution
Opening February 17, 2008 through May 12, 2008
P.S.1 Contemporary Art Center presents WACK! Art and the Feminist Revolution, the first comprehensive, historical exhibition to examine the international foundations and legacy of feminist art. Organized by MOCA Ahmanson Curatorial Fellow Connie Butler for The Museum of Contemporary Art, Los Angeles, WACK! focuses on the crucial period of the 1970s, during which the majority of feminist activism and artmaking occurred internationally. Praising the exhibition, P.S.1 Contemporary Art Center Director Alanna Heiss notes: "In addition to exploring international occurrences of feminist art, the show emphasizes New York's role in the movement, as well as its relationship with each artist involved. This is a particularly happy coincidence for P.S.1, as Connie Butler, the curator of WACK! in Los Angeles, has since last year joined the staff at the Museum of Modern Art, and will work on the very special installation of the exhibition with P.S.1 Director of Operations and Exhibitions Design Antoine Guerrero". This exhibition will be displayed on the entire First and Second Floors, and in the Third Floor Main Gallery from February 17, 2008 through May 12, 2008.
The exhibition spans the period of 1965 to 1980 and includes 120 artists and artist groups from the United States, Central and Eastern Europe, Latin America, Asia, Canada, Australia, and New Zealand. WACK! includes work by women who operated within the political structure of feminism as well as women who did not necessarily embrace feminism as part of their practice, but were impacted by the movement. Comprising work in a broad range of media—including painting, sculpture, photography, film, video, and performance art—the exhibition is organized around themes based on media, geography, formal concerns, collective aesthetic, and political impulses. The exhibition is accompanied by a fully illustrated catalogue.


Drinks au bar de l’hôtel Roosevelt (Madison et 45e) avec les enfants, et puis place au théâtre :

Cat on a Hot Tin Roof
Broadhurst Theatre
Description
The historic, all-black revival of Tennessee Williams’s 1955 classic is a bona fide revelation. The A-list actors—Anika Noni Rose, Terrence Howard, James Earl Jones and Phylicia Rashad—fully inhabit the steamy, sexually repressed Southern milieu as if the parts were tailor-made for them. Film-star Howard is the weak link, but even his slack pace and lack of stage experience are ameliorated by passion and natural charisma. Director Debbie Allen’s production is a bit ham-fisted in the tacky sets and lights, but the superb cast is the reason to see it. It’s a masterpiece in which lying is a major theme, and we won’t see a truer version for a long time. Note: Through May 22, the role of Brick will be taken over by Boris Kodjoe. Howard returns on May 23.—DC (TimeOut NYC)
Toujours aussi intense. Interprétation magistrale de Jones, Rashad et Rose. Mandacity is the theme !

Dîner au Pigalle (8e et 48e); moules et vin d’Alsace (sauf pour Dominique qui tient bon à son sixième jour de faste !)


4 mai

Petit déjeuner chez Norma’s, au Méridien (6e et 57e) ; partie de la tradition (4e visite en un peu plus d’un an). ¾ heure d’attente !

Théâtre :
Spamalot

Shubert Theatre
Description
While undiscriminating Monty Python fans may thrill to hear reenactments of the troupe’s classic routines, its anarchic, zany spirit has been dulled and sweetened to make for commercial pliability. Despite Mike Nichols’s witty staging, Spamalot just isn’t as hilarious or daring as the material that inspired it.—DC (TimeOut NYC)
Une grosse farce populaire, qui attire une foule (90% féminine, ma foi, et tout en enbonpoint!) fervente de l’émission American Idol, dont le gagnant d’il y a quelques années, Aiken, en est une des vedettes qui se mérite d’ailleurs les applaudissements let les hurlements es plus tonitruants ! On ne nous y reprendra plus !
Un dernier verre sur la terrasse extérieure du Rockefeller Café, pour profiter des rayons déclinants d’un soleil qui ne fut de la partie que ce dimanche.
Vol sur Toronto à 20h30 (AC727)