A Singer’s Notes 133: The Bookclub Play and Shakespeare’s Cymbeline, coming up at Shakespeare and Company (Comments Off)
The Bookclub Play Karen Zacarias’s The Bookclub Play at Hubbard Hall was rather like a sporting event. There were jabs and plenty of taunting throughout the farce. Like most comedies on the edge of farce, the play moved in circles, many repetitions, the clock rolling around full circle. There was some very fine acting. Oliver […]
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.
Patrick Dougherty has been making popular installations over a 30-year career in the tradition of Earthworks. Raised and educated in North Carolina (he resides in Chapel Hill), he began with a hand-crafted house in the 1970’s and a decade later was showing human stick figures positioned or standing in chairs. His first works were displayed in art galleries and at art centers before he became engaged with architectural follies that are often massive structures that leap from tree to tree, cover facades of buildings, or stand as independent houses or similarly monumental forms. His output in the past decade numbers nine to ten installations a year—each occupying about three weeks of uninterrupted effort. As well as the hundreds of sculptures in the United States, his work has been enthusiastically received internationally in almost every country in Western Europe as well as Japan and South Korea.
- Rodin: The Evolution of a Genius, formerly at the Virginia Museum of Fine Arts, Opens at The Peabody Essex Museum, Salem May 16, 2016
- FINITE INFINITY: a sculpture and light installation by Richard Harrington featuring sound performances by Forrest Larson, Phil Van Ouse
- Joanna Gabler, Our River, an exhibition of digital “Transcapes,” devoted to the Hoosic River and its tributary, Broad Brook
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.
Every spring for some years now the brilliant Polish actor-director-playwright-poet Omar Sangare has created extraordinary productions at the ‘62 Center for the Performing Arts with his acting students at Williams College, and they keep on getting better. All of them have been highly unusual. There was a double-cast A Streetcar Named Desire: by that I mean that it was performed by two separate casts almost, but not quite simultaneously. Far from an weird distraction, the device emphasized the universality of the play…and gave the many interested student actors a chance to perform.
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).
- Mark Morris’s Staging of Britten’s Curlew River and Purcell’s Dido and Aeneas at Tanglewood
- 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‘
True Romance on Screen: Todd Haynes’ Carol…with a Sideglance at the Latest from Spielberg & Hanks (Comments Off)
True Romance. The essence of Carol, a film much lauded but low grossing (which has become the norm for prestige films at Oscar season) is that it is a lesbian love story as Eric Rohmer might have conceived it and Alfred Hitchcock might have photographed it. The plot is slender. At Christmas around 1950 Carol Aird, an unhappy housewife on the verge of divorce (Cate Blanchett), feels an immediate attraction to Therese Belivet, a much younger sales girl in a New York department store (Rooney Mara). Poised between upper-middle-class privilege of the period, swathed in mink, and her sexual loneliness, Carol initiates a love affair that quickly takes us into literary territory, with the visuals doing much of the poetic writing, in the “camera-pen“ tradition that French critics admired in great American movies.
In cooking, as in any art, you have to know the rules—the more profoundly the better—to break them. While en route, appropriately enough, to Albany, I heard a radio interview with the manager and the chef of a new restaurant near the University of Albany. As I threaded my way through the rolling hills and forests that separate the capital of New York State from the Berkshires, slowing in all the notorious speed traps, I found this interview unusually absorbing. The chef, Nicholas Armstrong, was impressively articulate about the science of cooking
- With summer gone…Lagrein, Madiran, Garnacha, Cabernet…Chinon!
- 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
Openings: Boston Musica Viva plays Boulez, Marteau sans maître, and Nelsons and the BSO present Richard Strauss, Der Rosenkavalier (Comments Off)
One hoped and expected there would be performances of Pierre Boulez pieces in Boston this season to honor this great musician who died last winter. The Berlin Philharmonic, hardly a local group, will play one piece on its visit here in November. I don’t see anything else on the horizon. So, many thanks to Boston Musica Viva, our fine contemporary music ensemble now in its 48th year, for opening its season with Boulez’s perhaps most significant work, Le Marteau sans maître (The Hammer without a Master, 1954-57).
Musically, this summer in the Berkshires, there was one event that was truly exciting, in the sense of something important that was entirely new…or almost, as the people behind it made entirely clear. Several weeks ago I had the pleasure of interviewing the two impressive and engaging founders of the Berkshire Opera Festival, Jonathon Loy and Brian Garman, who promised to “bring fully-staged opera back to the Berkshires.” And this they have just fulfilled with a production of Puccini’s Madama Butterfly, that was in a way as perfect as an opera performance can get, considering that opera is the quintessence of imperfection among art forms—or perhaps that should be said of art itself. Musical and theatrical ability that was both solid and brilliant, imagination, good taste, and deep knowledge and understanding of the work and its authors flowed together with all the concentration and energy aroused by a new, make-or-break enterprise to create a performance that can only be described as an object lesson in how to perform opera—and a thrilling and moving one newcomers, casual opera-goers, and opera-makers alike can appreciate. The Berkshire Opera Festival has, within less than a week, made itself indispensible.
- Race and Slavery in Mozart Operas: A Letter to the New York Times by Ralph P. Locke
- The Berkshire Opera Festival: an Important New Cultural Resource to Make its Debut in Late August. Its Co-Founders, Jonathon Loy and Brian Garman Tell Michael Miller All About It.
- The Bard Music Festival and SummerScape Opera 2016: Puccini and his World, with Pietro Mascagni’s Iris
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.
Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller (Comments Off)
Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.
- An Interview with Wu Han and David Finckel: Life after the Emerson Quartet and an Upcoming Concert at South Mountain Concerts
- 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
Wagner, Tannhäuser Overture. Sibelius, Symphony No. 2 – the BSO’s first recording under Andris Nelsons (Comments Off)
I don’t think I have heard the Boston Symphony sound this full and deep since Koussevitzky. This CD inaugurates Andris Nelsons’ era at the helm of the BSO and signals a reinforcement of the orchestra’s considerable strengths in the more brooding side of the continental repertory.
- Sviatoslav Richter (1915 – 1997) on Disc: Hunting the Snark
- 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!
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.
The Consul, the Tramp, and America’s Sweetheart, by John Morogiello, at the Oldcastle Theatre Company, Bennington (Comments Off)
The Oldcastle Theatre Company is one of the most appealing in the Berkshires, which, culturally, extends from northwestern Connecticut to Dorset and Weston, Vermont. Downtown Bennington has a unique feeling to it—small-town in the best sense—and is home to a respectable array of bars and restaurants for audiences to enjoy anticipation or a cool-down before or after the show. Keith Kibler has been chronicling and enjoying—very much—Oldcastle’s productions for some years on our site, and I was happy finally to catch a show myself.