Last month I had the pleasure of chatting with Inbal Segev, a young cellist from Israel, who has been making a mark in contemporary music and the classics. She was discovered by Isaac Stern as a high school student in Israel, and he arranged for her to come the United States to study at Yale and Juilliard. On this occasion we talked about her upcoming performance of Christopher Rouse’s cello concerto with the Albany Symphony under David Allan Miller and a very interesting—and successful—contemporary music festival sponsored by the Baltimore Symphony Orchestra, under the direction of Marin Alsop. It held its inaugural season just last summer.
Wordpress themes are rather like cars. They begin to look old, then parts nobody but the admin sees start to fail. One can refurbish them and update them until they stop working together. The Berkshire Review for the Arts has had the same theme since 2009. The company that built its foundations went out of business several years ago, as web design firms often do. An update was long overdue. We hope you like it. Comments are welcome.
Between the limits of the discipline, as it is taught in graduate schools, and the structure of museological functions, exhibitions of drawings usually adhere to a restricted range of formats, which, while continuing to be viable for institutions and the public and useful for scholars in the field, can be felt as constricting for those who conceive and execute them. The scope of drawings exhibitions can be determined by time and/or place (stylistic categories), or an artistic personality (monographic), or collection (“Treasures on Paper from…”), and perhaps a few others. When a curator is faced with such a project, he may may find himself wrestling with an urge to break the mold and create something new.
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.
Many of us who attend the Bard Music Festival look forward to it with the same warm anticipation we once looked forward to Christmas. Two weekends are packed with music, much of it we’ve never heard before, some of it great, some good, some interesting. There are panel discussions and lectures to help tie it all together, usually pitched at a general educated audience, but always with surprises and things one didn’t know before. And there is a feast of discussion, with the musicians, with the speakers, and with each other. It’s not so much that there is music to be enjoyed and a historical context to learn: through the immersion in immediate, live concerts and contact with knowledgeable humans a unique experience emerges in which we can live this whole of sensual and intellectual pleasure, analysis, and a direct understand of the cultural and social whole in which the music was created. The difference between this and the traditional sources of background information available to concertgoers—i.e. program notes—is like a month in Paris against a travel brochure.
Bard Summerscape visitors have much to look forward to in this year’s fully-staged production of Dvořák’s rarely performed grand opera, Dimitrij. For this ambitious work Dvořák set a Russian subject, the unhappy fate of the false pretender, Dimitrij, who appeared after the death of Boris Godunov, presenting himself as the son of Ivan the Terrible. The libretto was by Marie Červinková-Riegrová, one of the preeminent Czech librettists of the time, the deeply educated daughter of leading Czech politician František Ladislav Rieger, and a granddaughter of the famous historian František Palacký. In her libretto, which advisedly took liberties with historical accuracy, Dimitrij was a young Russian serf who was taken up by Poles and brought up to believe that he was in fact the son of Ivan. Hence in this opera, he is the innocent victim of ruthless Poles, eager to destabilize Russia. He is unhappily married the the Polish Princess Marina, who is merely interested in using him for her own national and personal ends.
Two large-scale vocal works were presented at BEMF on successive nights (Wednesday and Thursday, June 14 and 15), one a work of music theater, merging opera and ballet; the other devotional but in the musical language of opera absent the staging. Composed within nine years of each other, they offer contrasting perspectives of Italian music and culture from the points of view of a French and a German composer. Both were clearly besotted with Italy, one responding to the carnival spirit of Venice with its light-hearted approach to life, love, and entertainment; and the other situated at the center of the sober religious and devotional culture of Rome. Experiencing these two works back-to-back and interpreted by many of the same performers provided a wonderfully condensed testament to the multidimensional attractions and influences that Italian opera radiated at the turn of the 18th century.