This most famous quote, precariously balanced, elevates the word question to existential status. Hamlet is a play of questions. Could Gertrude following hard after, have saved Ophelia from drowning? Did Hamlet ever love Ophelia? Is the ghost real? There is a glimmer of hope—Hamlet lets us know very clearly that if he had more time, being blessed finally with the proximity of death and its widening of perception, he could tell us more. Perhaps he could answer some of these questions.
- A Singer’s Notes 107: Louis Lohraseb Conducts the Amadeus Orchestra at the Troy Savings Bank Music Hall, with Cicely Parnas, Cello; Gerard Schwarz and the Mozart Orchestra of New York
- A Singer’s Notes 106: The Beauty’s in the Details — Les Violins du Roy and Marc-André Hamelin in Troy
- A Singer’s Notes 105: Florence Foster Jenkins Rides Again! Stephen Temperley’s Souvenir at the Capital Rep
Six Degrees, Six Degrees: Sydney Architecture in 2012 (Comments Off)
The other day I installed new brake rotors on my mountain bike . They are beautiful; every scrap of stainless steel not required to withstand structural stress and the build up of heat has been removed. A laciness which could be mistaken for decoration is no more or no less than the result of form following function. As a chain is a chain and a tire inexorably a tire, so the rotors would cease to be themselves were they square or triangular, made of concrete or glass.
Architecture is not like this.
Two Weekends in the Country: The BSO and the Festival of Contemporary Music at Tanglewood, Jacob’s Pillow, the new Clark, Mass MoCA, and Boston Midsummer Opera’s Bartered Bride (Comments Off)
As life in the city slows down, life in the country west of Boston ratchets up. I went out to the Berkshires to catch as much as I could of Tanglewood’s fiftieth Festival of Contemporary Music, this year curated by Boston composers and longtime Tanglewood faculty members John Harbison (a composition fellow in 1959) and Michael Gandolfi (a fellow in 1986).
- Berkshire Artist Joanna Gabler, “Emigrés – Where is Home?” at Gallery Ehva, Provincetown: October 25-November 5, 2013 – Opening Friday, October 25, 6-8 pm
- A Singer’s Notes 73: Michael Phillips’ Reproduction of a Blake Print
- Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection, at the Smith College Museum of Art, September 28, 2012 – January 6, 2013
Richard Wagner, Parsifal, directed by Stefan Herheim and conducted by Daniele Gatti, Bayreuther Festspiele (2010 Performance Reviewed) (Comments Off)
Ritual is everywhere in Wagner’s operas and music dramas. He even has his way of transforming crucial events in his stories into quasi-rituals through symbolism. Ritual is even more pervasive in his final work, his Bühnenweihfestspiel, Parsifal, which is in itself a ritual. The highly ritualized routines of the Grail knights connect their lives and the events of the drama with the continuum of the Grail’s history, back to the Last Supper. Their actions are highly deliberate, replete with the significance of faith and tradition. This creates a quasi-monastic environment in which life unfolds slowly, largely ceremonially, on the structure of a time-honored schedule, in which history and precedent are always present. The narrative unfolds with notable simplicity in terms of what occurs on stage, while beneath it, the backstory related in monologues seethes with incident, conflict, and misfortune. In addition to this dramatic foreground purified of trivialities, there is the pure transparency of Wagner’s score, consisting of simple thematic material set with surpassing clarity, delicacy, and harmonic subtlety. In this way Parsifal lives up to what we have been conditioned to expect from the late work of a great artist, and this is what we see and hear on the stage, if Wagner’s stage directions are observed.
Most writers fall in love with their words. They greet changes to the text, particularly of a published work, with the blank astonishment of a mother confronted with criticism of her first-born child. This cannot be said of Gore Vidal, who died in Los Angeles at 86 on July 31st. I remember sitting in early rehearsals of the 2000 Broadway production of The Best Man and Vidal asking Jeffrey Richards, the lead producer, “Should I update the international references? Make them more contemporary?” He expected changes in his play and embraced them, but, in fact, there were very few in this production. Prickly references to China were as relevant in 2000 as they were when the play was set in the early ‘60s.
The perfect word to describe Andris Nelsons’ conducting is “exciting.” He elicits spectacular playing from the Boston Symphony and knows how to mold the sound of the orchestra to his taste. The strings now sound rich, deep, and solid rather than airy, transparent and elegant, as was their traditional, French–flavored style. This works well in a German-Russian program; I am curious to hear what they (Nelsons and the orchestra) will do with canonical French material such as the orchestral works of Ravel.
- The Winter of Our Discontent: Classical Music in Boston
- The Amadeus Orchestra – Louis Lohraseb, Conductor, soloist Cicely Parnas: Bruckner, Haydn, and Brahms at Troy Savings Bank Music Hall, Sunday, April 19, 3 pm
- Wagner, Tannhäuser Overture. Sibelius, Symphony No. 2 – the BSO’s first recording under Andris Nelsons
Mark Morris’s Staging of Britten’s Curlew River and Purcell’s Dido and Aeneas at Tanglewood (Comments Off)
Tanglewood produced many of the summer’s memorable outings, but with pieces which somehow seem easier for a big Symphony to bring across to a big audience in the summer and in the country; music, like every other living thing in New England, can be highly seasonal and very much of its own place and niche. Many of the programs drew from the theater — ballet music and concert opera especially, or from the church — and extremely fine and satisfying performances of Debussy’s Danses: sacré et profane, l’Après-midi d’un faune, Jeux, Charles Dutoit’s of Ravel’s Daphnis et Chloë and Poulenc’s Stabat Mater, and one of Britten’s church parables Curlew River, to leave out many others, seem stick with me for a long time.
- An Awesome Trek Through the Cosmos with the Pinchgut Opera’s ‘Castor et Pollux’ by Rameau
- Dancers Go ‘A-Fugeing': The Sydney Dance Company With the Australian Chamber Orchestra (Amplified!) in ‘Project Rameau‘
- A Subtler Dance — Anne Teresa de Keersmaeker’s ‘En Atendant’ and ‘Cesena’ at the 18th Sydney Biennale
As an act of recollection, The Master captures the Fifties with perfect pitch, all the more remarkable because the film’s creator wasn’t there. Two stories collide from opposite directions. One is the story of an invisible man, a World War II veteran who never recovers from combat. The other is a charlatan savant skimming the gullible and rising to become a cult leader, the Master of the title. One life has slipped through the cracks, as adrift as Okies in the Dust Bowl but desolately lonely. The other life is a round-the-clock power play to grab the golden ring.
With summer fading into the past, one compensation for earlier nightfalls and chillier water temperatures that limit swims to only intensely sunny midday outings is the pumped-up output happily spilling out of the vegetable garden. The squash vines have wound out into improbable places, and, if one pokes around under those umbrella-like leaves, there are plenty of butternut and spaghetti squashes playing hide and seek. Every day tomatoes are dropping off their stems. And suddenly there are lots of reasons for searching out some ripe, dense, maybe even rustic red wines to accompany all there is to eat.
- A Plea to Wine Lovers
- Ruth Reichl, Ellen Doré Watson, Patty Crane, Francine Prose, and Elizabeth Graver respond to Walker Evans’ “Kitchen Wall, Alabama Farmstead” now posted on the new Gastronomica online..with interviews with Darra Goldstein and Hannah Fries
- In certain regions some wines are famous, while others are ignored…
Opera and Passion: Boston Lyric Opera, Boston Early Music Festival, and Odyssey Opera (Comments Off)
Is there a more passionate art form than opera? In what other mode is the uninhibited expression of feeling—tragic or comic—so central? More central than reason. Given the emotional liberation of great music, what can in a mere plot description appear to be absurd (a woman tossing the wrong baby into a fire; a “fallen woman” sacrificing her entire future and the happiness of her lover for the sake of her lover’s respectable sister; a man killing his best friend in a duel because he has flirted with his girlfriend; a nobleman secretly meeting his own wife in disguise—madness, murder, and deception) can become through music profound and moving, Revelation and Catharsis.
In Jack Beeson and Kenward Elmslie’s 1965 retelling, Lizzie Borden is unequivocally presented the murderer of her step-mother and father; in the opening moments, as the orchestra starts up with a scream of outrage, Lizzie runs onstage with an axe and plants it firmly in the middle of the family table. It remains there for most of the opera, sometimes reached for, sometimes stroked, and eventually seized with murderous intent.
W. B. Yeats and Ireland: Photographs, Music, and a Reading, with Dorien Staljanssens, James Cleveland, and Lloyd Schwartz—a Christmas Gift from The Berkshire Review (Comments Off)
In the spirit of the Twelve Days of Christmas as a time for quiet reflection and a turning inwards, we’d like to offer a gift of a recording of New York Arts‘s second performance event, held on June 1, 2013, at 7 pm, in connection with my own exhibition of photographs of Western Ireland at the Centerpoint Gallery in New York City: a reading/concert in which the acclaimed poet, Lloyd Schwartz, Senior Classical Music Editor of New York Arts, read poems by W. B. Yeats with interludes of traditional Irish music played by Dorien Staljanssens, flute, and James Cleveland, fiddle.
Seven Ways to Improve the Tour de France (Comments Off)
I wouldn’t go so far as the three-time world-champion Óscar Friere, who reckons that the Tour de France is “the most boring race of the year” — has he ever watched the Tour of Qatar? — but this year’s race did make me wonder how many more like it the old institution can take. Institutionalization is the Tour’s great burden, or at least its double-edged sword. For the casual fan it is the ‘race of record,’ cycling itself. Those who follow the sport more closely understand that while the Tour is undeniably the most competitive, and therefore the most prestigious, among the three Grand Tours of Italy, France and Spain, it often not the most interesting.
An Interview with Wu Han and David Finckel: Life after the Emerson Quartet and an Upcoming Concert at South Mountain Concerts (Comments Off)
Along with the retirement of the Tokyo String Quartet, the departure of David Finckel from the Emerson Quartet has been one of the most discussed events in the world of chamber music over the past eighteen months or so. As people who have heard their concerts know, both David Finckel and the Emerson Quartet, now with the British cellist, Paul Watkins, in place, are as rich as ever in their contributions to our well-being as humans. Wu Han and David Finckel spoke with me just today about their new post-Emerson life, which allows David to travel and play more regularly with Wu Han as a duo and as a trio with Emerson violinist Philip Setzer, who will join them at the venerable South Mountain Concerts on Sunday, September 29, 2013. They will play Beethoven Op. 1, No. 2, Shostakovich’s Trio No. 2 in E Minor, Op. 67, and Dvořák’s Trio in E Minor, Op. 90, the “Dumky.”
I hope you enjoy our conversation about their past, present, and future as much as I did.
- Jonas Alber conducts the Staatsorchester Braunschweig in Franck’s D Minor Symphony—a Podcast.
- Interview with Judy Grunberg and Yehuda Hanani – PS21 presents the 7th Annual Paul Grunberg Memorial Bach Concert , Saturday, June 16, 7.30 pm: Yehuda Hanani, cello; Emma Tahmizian, piano
- Paula Robison talks to Michael Miller
Two musical instruments rise above all others in their humanity — the violin, because it comes closest to imitating the singing voice, and the piano, because it comes closest to conveying human nature. As human nature is vast, so is pianism. You can sequester yourself from territory that is too hot, cold, angry, lustful, domineering, or terrifying. Some pianists base their whole career on safely walling off the troubling aspects of human perversity (Alfred Brendel comes to mind, with his ability to make even Liszt wipe off his shoes at the door), while only one has been courageous enough to venture without a care into heaven and hell.
- The Music of Mozart’s Last Months: La Clemenza di Tito at Emmanuel, Die Zauberflöte at Salzburg under Furtwängler, 1951, and Beecham’s Requiem from Pristine.
- “Music for a Time of War” – The Oregon Symphony under Carlos Kalmar play Ives, Adams, Britten, and Vaughan Williams on a Pentatone Release…Highly Recommended!
- Richard Wagner, Der fliegende Holländer: the beginning of Marek Janowski’s Historic Series of Concert Performances of the Ten Mature Operas and Music Dramas
Le but principal de cet article et de louer jusqu’au cieux une représentation tout à fait remarquable—inoubliable, dirais-je—du premier oeuvre canonique de Wagner, mais c’est bien une mise-en-scène contemporaine—une mise-en-scène laquelle rend justice aussi bien à la problématique sociale de 1840 qu’a celle de nos jours—surtout à propos de la rôle des femmes dans la famille, le mariage, les moeurs bourgeois, et l’argent. Dans ce contexte le problème qui me frappe d’abord est celui de la mort de Senta, parce qu’il semble que les metteurs en scène de nos jours se sentent fort mal à leur aise avec sa mort telle que Wagner l’avait conçue, où elle se jette dans les flots tourbillants nordiques. S’agit-il de la vraisemblance, du goût, ou bien des frais toujours montants de l’assurance qui découragent la saute d’une soprano importante même d’une distance de deux mètres? Voyons.
A Treasurable Account of Poe’s Last Hours from the Berkshire Theatre Group, with David Adkins and Kate Maguire, Closing 10/26 (Comments Off)
You can’t really blame the Berkshire Theatre Group for billing Eric Hill’s splendid entertainment, POE, as a Hallowe’en show. As the holiday approaches, Poe’s chilling stories and poems are rolled out in all the many forms they have assumed since their assimilation into two great cultural phenomena, American Literature and American Pop Culture, over the decades since their publication. In fact, however, POE, which most immediately revolves around the bizarre circumstances of the author’s demise, more directly concerns a far scarier day in the American calendar—Election Day