Berkshire Review’s International “Portals”(Comments Off on Berkshire Review’s International “Portals”)
As The Berkshire Review has grown, we have developed certain international centers, where our writers either live or often return. Our coverage in these locations will continue to grow and become more comprehensive with time, and others will be added to them. But these are not all, you will find reports from Chicago, Madison, Wisconsin, Virginia, Turkey, and Poland. If you are travelling or looking for a place to settle, you will find this list of our local “portals” helpful.
On September 13, 2011, Gregers Tang Thomsen and Selva Gürdoğan, of Superpool, in collaboration with Project and Projects, lead a talk at SALT Beyoğlu entitled “What Inspires Design in Istanbul.” The discussion revolved around the innovative project, Becoming Istanbul, which will run from September 13, 2011 to December 31, 2011.
During this three month event, ”two parallel programs [will commence], 90, a program of 90 events focusing on contemporary issues in Istanbul, and The Making Of Beyoğlu, a series of workshops examining the methodology and implementation of projects initiated in the city’s center.” At “What Inspires Design in Istanbul,” Superpool explored the obvious and subtle design opportunities of the Becoming Istanbul installation.
The number, variety, and quality range of the BEMF musical events is so vast that it induces a kind of giddiness or vertigo over the course of the week that can be taken as either the frenzy of enthusiasm or the disorientation of overload. This is not necessarily a bad thing. Going to concerts is always a social event, and attending a series of them along with numbers of articulate, knowledgeable people (including the total stranger who might be wearing an “Earlier than Thou” T-shirt) with whom you can share information and compare responses is stimulating—at the very worst—at best highly enlightening.
The Chicago Lyric Opera’s Lohengrin is a testament to the major problem of many American opera productions today. On the one hand, conductor Sir Andrew Davis’ formidable interpretation rivalled the greatest in Wagnerian history, but on the other hand, director Elijah Moshinsky’s lackluster staging rivalled your average high-school production. The irony of hearing some of the world’s greatest Wagnerian voices while seeing some of its most awkward blocking is nothing new to regular attendees of the American Wagner scene. That said, the Lyric might have done well to present the evening in concert form.
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