I must say once more how much Nigel Gore’s Tempest at Shakespeare and Company has meant to me. He helped me to see what it really is. His loneliness dominated, and this was right. I will take this performance as a model of for my adventures on stage, and I thank him.
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
Curated programs were a new and determining feature of Tanglewood’s 2017 Festival of Contemporary Music. In three of the five concerts, repertory and performers were chosen by a performer-curator who selected works by composers with whom they had worked extensively. Each of the curators, pianist Jacob Greenberg, cellist Kathryn Bates, and violist Nadia Sirota had been at Tanglewood (as part of the New Fromm players) and had developed a significant career in playing and promoting new compositions. The result was a concentration of works by composers of varied backgrounds who are living and working in the United States, and of an age that can be described as “mid-career.” Each curator got to choose one work to be included on the final TMC Orchestra concert.
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‘
Serenade for Haiti, Directed and Written by Owsley Brown, at the Berkshire International Film Festival, June 3 (Comments Off)
Among the rich offerings of the 2017 Berkshire International Film Festival, one of the most fascinating and important films will be Owsley Brown’s documentary, Serenade for Haiti. The film could be described as an extended visit to the École de Musique Sainte Trinité in Pétionville, a suburb of Port-au-Prince. Mr. Brown, who had made other films about music and its role in human society and spirituality, first visited the school in 2006, and was, as he has said, “greatly affected by what [he] found there.”
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
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.
Ups and Downs of the Boston Music Season, mostly Boston Symphony with Andris Nelsons, 2016-2017 (Comments Off)
The Boston Symphony Orchestra’s 2017 Tanglewood Music Festival, very successful by many reports, has just concluded, with the new season in Boston to begin very soon. I offer here the perspective of a look back at the preceding season in Boston, commenting mostly on BSO, but also a few other events. I was able to attend only one Tanglewood concert this summer: the impressive concert performance of Wagner’s Das Rheingold, conducted by BSO Music Director Andris Nelsons, with a large, excellent cast. A good sign for the future.
- Jonathon Loy and Brian Garman, Founding Directors of the Berkshire Opera Festival Talk with Michael Miller about the Centerpiece of their Second Season: Richard Strauss’s Ariadne auf Naxos
- Garrick Ohlsson’s Two Hands: Where the Poles of Romanticism Meet…Schubert and Scriabin at Tanglewood
- Pierre-Laurent Aimard Programs Birds, Ideas, and Modernist Brilliance
If advance gossip is any indicator, this year’s Bard Festival, devoted to Giacomo Puccini and his World, was one of the most controversial. “Puccini! Controversial!” You say, “There’s not really enough in him to have a controversy about, is there? Those sappy tear-jerkers speak for themselves.” In fact there was a lot of grumbling. Some festival regulars stayed away, or dragged themselves to only one concert, the one that included pieces by Dallapiccola, Pizzetti, and Petrassi. Even with these absentees the Festival sold out, or came close to selling out. Most of the concerts and the panel discussions were packed.
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.
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. (Comments Off)
Two seasoned, enterprising professionals in the opera world has recognized this serious gap in our cultural life and have set in motion an ambitious plan to fill it: The Berkshire Opera Festival, which will present its first season in late August and early Spetember of this year. Jonathon Loy, General Director and Co-Founder is a Guest Director on the staging staff at The Metropolitan Opera and a 2002 OPERA America Fellowship winner. Brian Garman, Artistic Director and Co-Founder, is a distinguished conductor, who worked at the Seattle Opera between 2009 and 2014 in the pit and as Music Director of the Seattle Opera Young Artists Program. As you will learn in this podcast, both know the aesthetics, mechanics, and business of opera from top to bottom, and show every sign of creating and institution that will endure and be highly appreciated in the Berkshires.
- Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller
- 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.
A Crop of Recordings XVI: Elgar, The Dream of Gerontius and the First and Second Symphonies played by the Berliner Staatskapelle under Daniel Barenboim (Comments Off)
If Gerontius died today, it would probably be at a hospital with no Cardinal Newman to record his passing and no Sir Edward Elgar to create his beautiful dream of a masterpiece. And, one supposes too, there’d be no Daniel Barenboim to bring the work to Germany so powerfully as he does here, details and quibbles to follow. We don’t immortalize last words and thoughts the way we used to.
- Wagner, Tannhäuser Overture. Sibelius, Symphony No. 2 – the BSO’s first recording under Andris Nelsons
- 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.
Mauritius, by Theresa Rebeck at the Oldcastle Theatre Company, Bennington. Closes August 6. (Comments Off)
You have only two days left to see Theresa Rebeck’s philatelic thriller at the Oldcastle Theatre Company in Bennington. By all means drop any other plans you may have and treat yourself to a show that is both gripping and tartly amusing, with its sour, disillusioned view of sibling relationships and human behavior inspired by desirable objects.