A Singer’s Notes 127: Great Things at the TMC, and Good Fun at the Berkshire Theatre Festival and Shakespeare and Company (0)
In line with the excellent work I have heard at Tanglewood, was the Fellows’ vocal concert. Kurt Weill’s The Seven Deadly Sins was masterfully led by mezzo-soprano Fleur Barron, Nuno Coelho, conductor, with Nicholas Muni as director. Mr. Muni’s direction was not fussy, and it tapped into the knife-edged nature of the show without excess. Ms. Barron gave a masterful performance. Not only was her voice beguiling in every way, she moved decisively, and somehow naturally, through the opera. Each of her skills contributed to a larger convincing performance in this ice-cold piece.
- A Singer’s Notes 126: Lenox Nights—The Merchant of Venice at Shakespeare and Company and Fellows at the Festival of Contemporary Music at Tanglewood
- A Singer’s Notes 125: Four Good Things—Aston Magna, Two from TMC Orchestra, and the Berkshire Theatre Festival
- A Singer’s Notes 124: Fiorello, South Pacific, and My Jane
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.
Rodin: The Evolution of a Genius, formerly at the Virginia Museum of Fine Arts, Opens at The Peabody Essex Museum, Salem May 16, 2016 (Comments Off)
Auguste Rodin is one of those institutional artists, whose last name has become synonymous with a distinctive kind of art, much the same as Donatello or Rembrandt, but Rodin: The Evolution of a Genius, currently on view at the Museum of Fine Arts, Richmond, is as remarkable as it is unexpected. While it covers the salient points in Rodin’s oeuvre, the focus here is neither marble nor bronze, but rather the humbler medium of plaster. The underlying thesis is that Rodin was more of a modeler than a carver, a practice reflecting the nature of the art market in his day as well as the sculptor’s natural inclination. Created jointly by the Musée Rodin in Paris and the Musée des Beaux-Arts of Montreal, the exhibition showcases two hundred works that emphasize Rodin’s pivotal place in the grand tradition of sculpture, between the worlds of Michelangelo and of Brancusi.
- 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
- 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
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.
A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart’s Die Entführung aus dem Serail and Così fan tutte. The content of these articles will be clear enough from Professor Locke’s letter and his own commentary.
- 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.
- A Singer’s Notes 123: a Tribute to Phyllis Curtin and the Opening of Aston Magna
- Aston Magna Music Festival 2016, June 16-July 9, 2016, “Love and Lamentation” — a Preview
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
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.
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…
Shakespeare-inspired opera, ballet, and tone poems formed the frame-work for this colorfully varied program, somehow containing the non-Shakespearean and infrequently heard Saint-Saens “Egyptian” Concerto. A charitable stretch might imagine a reference to “Anthony and Cleopatra,” but thematic consistency is not necessary for an interesting afternoon of music.
The Bard Music Festival and SummerScape Opera 2016: Puccini and his World, with Pietro Mascagni’s Iris (Comments Off)
The Bard Music Festival, every year since 1990, offers music-lovers a splendid gift in its weekends of immersion in the music of some major composer and others related to him, the intellectual and artistic life of his time, and the legacy that connects us to it all. It equally presents us with a powerful challenge—a challenge to overcome our preconceptions about this partly familiar, partly unfamiliar music, chiefly the product of famous composers. In some cases we discover that a composer’s most popular music is not in fact his best, and our estimation of him rises significantly, as in the case of Sibelius and Prokofiev, or in others, like Schubert, we can become acquainted with genres like the part song, which have fallen out of the repertory because the social context for their performance has become obsolete. Many music-lovers divide Franz Liszt’s output between serious music of high quality and shallow, flashy display pieces. Again, the Bard Festival challenged its audiences to reconsider.
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.
John Rando and Joshua Bergasse are ingenious at moving ensembles around a stage—be they orphan pirates, lovelorn young ladies or frivolous policemen. Pirates leap onto rope nets strung down from the top of the theater; they crawl down the aisles at our feet, swords in hand. Young ladies sidestep closely together as they pine in song for young men to be their husbands. Uniformed policemen hop onto each other’s backs or fall down onto the stage dominos style all the while delighting the audience into non-stop grins.