Loading...

Month: October 2017

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.

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.

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.

Trans-Atlantic Sympathies: opening night at the Festival for Contemporary Music, 2016

The director of this year’s Festival of Contemporary Music, Steven Stucky, was a fine composer whose music occupies a centrist position in the American musical landscape, not only in his prominence, but equally due to his traditionally-oriented style. Stucky’s premature death last February at the age of sixty-six deprived this year’s festival of a director and the music world of a distinguished voice, but in the FCM programming his musical personality is apparent. Imaginative and resourceful, his music has an appealing surface, a familiarity of materials, and a clear and direct emotional appeal, speaking to the influence of mainstream American composers like Aaron Copland.

About Laurence Wallach

Larry Wallach is a pianist, musicologist, and composer who lives in Great Barrington, Massachusetts and heads the Music Program at Simon’s Rock College of Bard. He has also taught composition at Bard College. He studied piano privately with Henry Danielowitz and Kenneth Cooper, and was trained at Columbia University where he studied music history with Paul Henry Lang, performance practices with Denis Stevens, and composition with Otto Luening, Jack Beeson, and Charles Wuorinen. He earned a doctorate in musicology in 1973 with a dissertation about Charles Ives. In 1977, he was awarded a grant to become part of a year-long National Endowment for the Humanities seminar at the University of North Carolina directed by William S. Newman, focussing on performance practices in earlier piano music. He went on to participate in the Aston Magna Summer Academy in 1980, where he studied fortepiano with Malcolm Bilson, both privately and in master classes.

Larry Wallach has been an active performer of chamber music with harpsichord and piano, and of twentieth century music. He has collaborated with harpsichordist Kenneth Cooper, with recorder virtuoso Bernard Krainis, with violinist Nancy Bracken of the Boston Symphony, with violinist/violist Ronald Gorevic, with gambist Lucy Bardo, and with his wife, cellist Anne Legêne, performing on both modern and baroque instruments. He has appeared with the Avanti Quintet, the New York Consort of Viols, and is a regular performer on the “Octoberzest” series in Great Barrington. He has been on the staffs of summer early music workshops at World Fellowship and Pinewoods Camp.
In 1996, he presented a program at the Bard Music Festival devoted to Charles Ives designed around a performance the composer’s Second Violin Sonata along with all the source tunes that are quoted in it. Part of this program was repeated at Lincoln Center in NY. He has also appeared on programs in Washington DC, and at St. Croix VI. As a composer, his works have been heard in New York, Boston, Amherst, the Berkshires, and at Bard College.

​Gilbert and Sullivan’s Pirates of Penzance at Barrington Stage

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.

Nancy Salz

About Nancy Salz

Nancy Salz is a freelance writer living in Stockbridge, MA. She writes primarily on the arts for the Berkshire Review, the Advocate Weekly and other publications.

A Singer’s Notes 125: Four Good Things—Aston Magna, Two from TMC Orchestra, and the Berkshire Theatre Festival

Aston Magna’s J.S. Bach concert in The Mahaiwe Theatre was a banquet of riches. The music itself ranged from abject woe in Weinen, Klagen, Sorgen, Zagen to vaudeville hijinks in The Singing Contest of Phoebus and Pan. Where do I begin? The unique singing of Dominque Labelle arrests the senses. You must listen to it. Ulysses Thomas’s rich, aristocratic voice, Jesse Blumberg’s clear, actorly voice, William Hite’s beautiful, beautiful tenor, each spoke eloquently. Above all, the redoubtable Frank Kelley’s complete control of the act of singing, his exaggeration (wildly funny), his movement, and most wonderful of all, the subtle creativity of his timing, brought the house down. He is the complete package.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

Stephen Sondheim’s Sweeney Todd at Glimmerglass

Sweeney Todd, The Demon Barber of Fleet Street is dark, dark musical theatre. A vengeful barber returns to Victorian London, slits the throats of those who have wronged him and with his accomplice turns their bodies into the stuffing of meat pies. Todd’s London is as menacing as he is …

“There’s a hole in the world
Like a great black pit
And it’s filled with people
Who are filled with shit
And the vermin of the world inhabit it …”

Nancy Salz

About Nancy Salz

Nancy Salz is a freelance writer living in Stockbridge, MA. She writes primarily on the arts for the Berkshire Review, the Advocate Weekly and other publications.

Little Shop of Horrors Meets Kinky Boots at the Berkshire Theatre Group

Something rather curious happens in the middle of Little Shop of Horrors now at the Colonial Theatre. Audrey II, the ultimate diva of human-eating plants, turns into a real-life drag queen.

Nancy Salz

About Nancy Salz

Nancy Salz is a freelance writer living in Stockbridge, MA. She writes primarily on the arts for the Berkshire Review, the Advocate Weekly and other publications.

The Rose Tattoo by Tennessee Williams at the Williamstown Theatre Festival, closing July 17

Tennessee Williams, who was close to forty when The Rose Tattoo opened on Broadway in February 1951, had already enjoyed major success with three plays, and had won a Pulitzer, the first of two, for A Streetcar Named Desire. The Rose Tattoo earned him his first Tony. It rather swept them up, as the scenic designer, Boris Aronson, and the two lead actors, Maureen Stapleton and Eli Wallach, also won Tonys. This was a big moment for all of them—certainly a milestone in Williams’ career. Yet, when the director of the current production, Trip Cullman, says, in an interview published in the program, that The Rose Tattoo “doesn’t occupy the same place in the canon as The Glass Menagerie, or A Streetcar Named Desire, or even Cat on a Hot Tin Roof,” we can accept it readily enough. Cullman envisioned his task as revealing its greatness. Indeed, the play hasn’t been revived very often. All the more credit to Mr. Cullman and to Mandy Greenfield, the Williamstown Theatre Festival’s Artistic Director, for taking on the challenge and for realizing its greatness with such brilliance—an extremely difficult task, I’d say, first because of Williams’ mercurial, almost indecisive shifting from pathos to comedy and back again, and secondly because of the problems involved in depicting Italian-American characters and life not only on stage, but in fiction and in film.

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.

A Singer’s Notes 124: Fiorello, South Pacific, and My Jane

This show was terrific, beautifully staged, a speed which benefitted the repetitive material, no nonsense, and some really wonderful performances. There were two outstanding young artists. Austin Lombardi led the show with blistering directness. He filled the silences with heat. He was relentless in his pursuits, and did all of this without exaggeration. His energy was almost tactile. Rebecca Brudner as his first wife Thea, used her beautiful voice intelligently.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.