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Month: October 2017

Richard Wagner, Der Ring des Nibelungen: Siegfried, Royal Opera House Covent Garden under Antonio Pappano with John Tomlinson as Wotan

When, in my review of his recent performance to Haydn’s Creation, I was reflecting on Sir Colin Davis’ career, I mentioned the Ring Cycle he conducted at Covent Garden in 1976. I thought that Siegfried was the most successful of the performances, because Sir Colin seemed to have fallen in love with its spectacular score. In no other work are the beauties of Wagner’s composition so constantly and so openly present. As I sat raptly in my seat, the orchestra and all the wonderful qualities Sir Colin could reveal in it were without a doubt the focus of my attention. And so it is for most of us in most performances, past or present, whether it is Furtwängler, Knappertsbusch, Solti, Böhm (whose splendid Bayreuth performances, available on Philips, should be better remembered), Boulez, or Levine. The orchestra functions as storyteller—a surpassingly eloquent one, with all the resources of Wagner’s musical imagination.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Frans Brüggen, Viviane Hagner, and the Scottish Chamber Orchestra in an All-Mendelssohn Concert at Queen’s Hall, Edinburgh, 10/18/07

One doesn’t often encounter all-Mendelssohn programs. If I were to find one in the Tanglewood season, I’d suspect it was a somewhat excessive gesture towards the more conservative members of the audience. On the other hand, from the Scottish Chamber Orchestra and Frans Brüggen, who has maintained a long-term relationship with the orchestra over the years, it meant a fresh look at three important works by a towering figure in nineteenth century music. Our view of Mendelssohn is still colored by the popular conception of him as a genial, highly privileged composer of tuneful works, who sadly died at the young age of thirty-eight. In truth, he was, both as a composer and a conductor, an extremely influential leader in the highly theoretical and factionalized world of Romantic music, the central figure in the more conservative, “classizing” group based in Leipzig.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Scottish Chamber Orchestra with Thierry Fischer, Conductor play a Haydn Mass and Beethoven’s Fifth at Queen’s Hall, Edinburgh

The Scottish Chamber Orchestra, founded in 1974, has enjoyed a world reputation for some time now for the work they have achieved over the years under Sir Charles Mackerras, who still conducts the orchestra on occasion. And they are anything if not versatile, playing a repertory spanning the Baroque and the contemporary. Saturday evening they were in their Classical mode, playing Haydn and Beethoven with a slightly relaxed compliment of original instruments (i.e. cellos on pins and metal flute alongside gut strings, natural horn and trumpet, etc.) under the direction of the brilliant Swiss conductor, Thierry Fischer. The evening was a splendid success, full of imaginative insights and intense music-making. The orchestra and singers seemed to enjoy it as much as the audience, a special distinction for Mr. Fischer, who conducts without a baton, using vigorous, occasionally extravagant gestures, which never failed to bring the musicians together in committed playing and tight ensemble.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

The Hairshirt Compulsion: Singlespeed Mountain Bike Racing

Lately I’ve found that my favourite thing is to race mountain bikes with no gears. Or one gear depending on your point of view.

Alan Miller

About Alan Miller

Alan Miller is a graduate of the Sydney University Faculty of Architecture and holds a BFA in film from the Tisch School of the Arts at New York University. A fanatical cyclist, he is a former Sydney Singlespeed Champion. Alan Miller reports on cycling, film, architecture, politics, and other sports in his letters from Sydney. He won the 2011 Architects’ Journal Writing Prize.

Two Remarkable Men: Konrad Oberhuber and Nicholas Hlobeczy

Last month two remarkable men died, Konrad Oberhuber on September 12 and Nicholas Hlobeczy on the 14th. Since they both exercised a similar beneficent influence on the world through art—and on me personally, I think it fitting to honor them together. They were on the surface quite different. One was a prominent curator and art historian, a specialist in the Italian Renaissance and in the art of drawing; the other was a photographer and poet, vividly familiar and loved by those who knew him and his work.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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