<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd"
>

<channel>
	<title>Berkshire Review, an International Journal for the Arts &#187; A London Summer with Huntley Dent</title>
	<atom:link href="http://berkshirereview.net/category/huntley-dent-london-summer/feed/" rel="self" type="application/rss+xml" />
	<link>http://berkshirereview.net</link>
	<description>Classical Music, Opera, Theatre, Photography, Art</description>
	<lastBuildDate>Wed, 10 Nov 2010 18:41:07 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0.1</generator>
<!-- podcast_generator="Blubrry PowerPress/1.0.11" mode="advanced" entry="normal" -->
	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
	<itunes:explicit>no</itunes:explicit>
	<itunes:image href="http://www.berkshirereview.net/images/BR7itunes.png" />
	<itunes:owner>
		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
		<itunes:email>editor@berkshirereview.net</itunes:email>
	</itunes:owner>
	<managingEditor>editor@berkshirereview.net (Berkshire Review, an International Journal for the Arts)</managingEditor>
	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
	<image>
		<title>Berkshire Review, an International Journal for the Arts &#187; A London Summer with Huntley Dent</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
		<link>http://berkshirereview.net/category/huntley-dent-london-summer/</link>
	</image>
	<itunes:category text="Arts" />
	<itunes:category text="Music" />
	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
	</itunes:category>
		<item>
		<title>Rembrandt in London: Close Examination: Fakes, Mistakes and Discoveries at the National Gallery</title>
		<link>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/</link>
		<comments>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/#comments</comments>
		<pubDate>Sun, 05 Sep 2010 22:24:25 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[connoisseurship]]></category>
		<category><![CDATA[National Gallery of Art]]></category>
		<category><![CDATA[Rembrandt]]></category>
		<category><![CDATA[Royal Collection]]></category>
		<category><![CDATA[Wallace Collection]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7719</guid>
		<description><![CDATA[Fortune and men’s eyes. Rembrandt, like Beethoven, has had the good fortune of familiarity breeding deeper admiration. Contempt was never a possibility. The same can’t be said for Raphael and Rubens, who have suffered scorn — and still do — interspersed with worship. But there has never been a masterpiece by Beethoven that was later attributed to a much lesser composer like Czerny or Spohr, while this happens regularly to Rembrandt. London is one of the great storehouses of Rembrandt paintings, along with New York and Amsterdam, and one can find works here that were lauded in the past but now are relegated to Gerard Dou (who?) or Jan Lievens (never heard of him). Among art experts both are respectable craftsmen, perhaps far better than that, but footnotes to a footnote when it comes to a titan like Rembrandt.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/09/rembrandt-close-examination-fakes-mistakes-discoveries-national-gallery-london/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>David Robertson, BBC Proms 2010</title>
		<link>http://berkshirereview.net/2010/08/robertson-bbc-proms/</link>
		<comments>http://berkshirereview.net/2010/08/robertson-bbc-proms/#comments</comments>
		<pubDate>Sun, 29 Aug 2010 02:10:41 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[BBC Proms]]></category>
		<category><![CDATA[David Robertson]]></category>
		<category><![CDATA[Samuel Barber]]></category>
		<category><![CDATA[Sibelius]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7626</guid>
		<description><![CDATA[The buddy system. Last night’s Prom was as close to an all-smiles evening as one could hope for with rain pouring down all day. David Robertson, although known as a champion of contemporary music,  programmed two easy pieces, the Barber Violin Concerto, which is about as challenging as a box of caramels (very delicious caramels) and the Sibelius Second Symphony, a sure-fire hit in Nordic-friendly Britain. There are so many stories of promising American conductors who falter in middle age (Robertson turned 52 last month) that I was eager to hear him a second time. The first  was with the Boston Symphony some years ago. Before I register my impressions, however, there’s a spic-and-span back story to his career — apparently this man has left behind him a trail of good will wherever he goes. He looks fit and friendly, with flat gray hair and the long face of a Yankee banker sitting for a Copley portrait. Born and raised in Malibu — not an arduous beginning, one assumes — Robertson was educated at the Royal Academy of Music. This tie to London glided into becoming the chief guest conductor of the BBC Symphony, which he presided over last night with happy faces all around. Robertson even entered the thorny patch that is the Ensemble Intercomtemporain in Paris and was cheered on despite having no ties to its founder, the formidable Pierre Boulez. Robertson preferred to conduct John Adams instead, and he got away with it.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/robertson-bbc-proms/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Valery Gergiev, BBC Proms 2010</title>
		<link>http://berkshirereview.net/2010/08/valery-gergiev-bbc-proms-2010/</link>
		<comments>http://berkshirereview.net/2010/08/valery-gergiev-bbc-proms-2010/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 16:08:06 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[BBC Proms]]></category>
		<category><![CDATA[London Symphony Orchestra]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[Scriabin]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7509</guid>
		<description><![CDATA[Capo di tutti capi. If you must have a gang invade your turf, let it be a gang of scintillating Russian conductors.  The UK is in that enviable position - for some reason the Russians haven’t made real inroads in America - and Valery Gergiev  in particular has London at his feet. All but the critics, that is.  They are grumpy about Gergiev, and admittedly he is a grandstander. His first concert this summer was a program of almost amusing arrogance as he led the World Orchestra for Peace in the Mahler Fourth and Fifth symphonies.  One knew in advance that it would be too much of a glorious thing. The mega-wattage of the orchestra, which draws its roster from the great orchestras of the world (even the back bench violins are first and second desk players at home) insured an evening of thrills. This ad hoc ensemble premiered in 1995, the brain child of Sir Georg Solti, who wanted it to symbolize harmony among all peoples.  High-flown sentiments, but on the rare occasions when the World Orchestra assembles, with Gergiev now at the head, even the citizens of Berlin and Vienna have to take notice. This is orchestral playing of sizzling virtuosity.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/valery-gergiev-bbc-proms-2010/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Arthur Miller&#8217;s All My Sons at the Apollo Theatre</title>
		<link>http://berkshirereview.net/2010/08/all-my-sons/</link>
		<comments>http://berkshirereview.net/2010/08/all-my-sons/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 04:41:32 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[All My Sons]]></category>
		<category><![CDATA[Apollo Theatre]]></category>
		<category><![CDATA[Arthur Miller]]></category>
		<category><![CDATA[David Suchet]]></category>
		<category><![CDATA[Howard Davies]]></category>
		<category><![CDATA[Zoe Wanamaker]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7504</guid>
		<description><![CDATA[Missing in action. A play is greatly fortunate when it receives a performance better than it is. The current revival of Arthur Miller’s family drama from 1947, All My Sons, needs that kind of help. You hear hollow echoes throughout of socialist catch phrases and pat Depression-era notions about the working Joe as mythic hero.  Money stinks. Bosses are glint-eyed bastards. In the Soviet system such virtuous cant was backed up by totalitarian terror: if you didn’t write a paean to the crews who built a new dam in Omsk, the secret police were ready to stimulate your inspiration with a midnight visit. Miller wanted to be a good leftist and a great writer at the same time. We can be thankful that his artistic ambitiousness won out. Otherwise, All My Sons would be like a Christmas pudding studded with thumbtacks — as it is, the action stops for  mini sermons on one-worldism, war profiteers, the corrupting decay of capitalism, and so on. Finger wagging isn’t helpful when you aim to be the working-class Sophocles. Who cares if Oedipus paid his charioteer a decent wage at the crossroad to Thebes?]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/all-my-sons/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Spur of the Moment at the Royal Court Theatre</title>
		<link>http://berkshirereview.net/2010/08/spur-of-the-moment/</link>
		<comments>http://berkshirereview.net/2010/08/spur-of-the-moment/#comments</comments>
		<pubDate>Fri, 20 Aug 2010 05:54:48 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Anya Reiss]]></category>
		<category><![CDATA[Royal Court Theatre]]></category>
		<category><![CDATA[Vladimir Nabokov]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7488</guid>
		<description><![CDATA[Her dark materials. I’m sure that the parents of Anya Reiss are bursting with pride that their daughter has written an acclaimed debut play, Spur of the Moment, at the unheard-of age of seventeen. But aren’t they horrified, too? As staged by the adventurous Royal Court Theatre, whose young writers program nurtured Reiss, the play is Ozzie and Harriet Burn in  Hell. Their precocious offspring wasn’t just listening at doors to what the adults were squabbling about. She was prying into their psyches with sharpened tweezers, as coldly objective as Nabokov with his butterflies skewered and pinned on a board.  Mums and dads across the land must be applying double insulation to their bedrooms.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/spur-of-the-moment/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Henry Moore Exhibition at the Tate Britain</title>
		<link>http://berkshirereview.net/2010/08/henry-moore-exhibition-tate-britain/</link>
		<comments>http://berkshirereview.net/2010/08/henry-moore-exhibition-tate-britain/#comments</comments>
		<pubDate>Wed, 11 Aug 2010 18:24:42 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Henry Moore]]></category>
		<category><![CDATA[Modernism]]></category>
		<category><![CDATA[sculpture]]></category>
		<category><![CDATA[Tate]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7390</guid>
		<description><![CDATA[Ship of state. In his long lifetime, which spanned the buggy whip and the atom bomb,  Henry Moore’s sculptures were never derided for being “lumpy, swollen, etiolated, hunched, extruded, squashed, and dismembered”  by anyone who championed modern art.  Such disdain has been saved for our time. The quote is from a London daily's art critic on the opening of Tate Britain’s large Moore exhibit, and she has no patience for the artist’s repetitiveness, lack of originality, overproduction (the museum culled over a hundred sculptures and drawings from a possible 11,000), endless borrowing from his betters (particularly Picasso), ubiquity as a favorite of corporations and colleges that need to art up the place (my college boasts a large, expensive Moore outside my old dorm), and so on. Such are the whines of twerpdom, which every iconic artist endures as the generations change.  The only exception I can think of is the Teflon-coated  reputation of Cezanne.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/henry-moore-exhibition-tate-britain/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>La Bête by David Hirson at the Comedy Theatre, London</title>
		<link>http://berkshirereview.net/2010/08/la-bete-comedy-theatre-london-2010/</link>
		<comments>http://berkshirereview.net/2010/08/la-bete-comedy-theatre-london-2010/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 18:34:30 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[David Hirson]]></category>
		<category><![CDATA[verse]]></category>
		<category><![CDATA[West End]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7333</guid>
		<description><![CDATA[The muse unleashed. The wildest frolic in London is being had by Mark Rylance the first moment he wanders onstage as Valere, a street clown in 17th-century France. In his hand he clutches a glass of red wine and two pieces of green melon. A broken pheasant plume in his hat trails behind. Within thirty seconds he has burped, farted, spit, dribbled melon seeds on his chin, and retired to a commode, after which he wipes his bum with loose pages from a rival writer's manuscript. For Valere is, unbelievably, a poet and playwright brought to farcical life as a bulging-eyed creature out of Hogarth – or as Rylance plays him, an entire menagerie of Hogarthian sots and loons. He commences on a rapid-fire soliloquy in rhyming couplets that lasts, without taking a breath, for twenty-five minutes. ]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/la-bete-comedy-theatre-london-2010/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Sondheim at 80 &#8211; excerpts from Sondheim Works</title>
		<link>http://berkshirereview.net/2010/08/sondheim-at-80-excerpts-from-sondheim-works/</link>
		<comments>http://berkshirereview.net/2010/08/sondheim-at-80-excerpts-from-sondheim-works/#comments</comments>
		<pubDate>Tue, 03 Aug 2010 10:20:21 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[BBC Promenade Concerts]]></category>
		<category><![CDATA[BBC Proms]]></category>
		<category><![CDATA[Bryn Terfel]]></category>
		<category><![CDATA[Judi Dench]]></category>
		<category><![CDATA[Royal Albert Hall]]></category>
		<category><![CDATA[Stephen Sondheim]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7298</guid>
		<description><![CDATA[Master of all trades. Stephen Sondheim’s career has been a slippery alloy of brilliance and spite. The brilliance is entirely his; the spite seeps from Broadway‘s “vultures, hangers on, and harbingers of bad news.” The quote is from a BBC interview this spring, indicating that at 80, Sondheim either feels the old barbs or is reconciled to being the perpetual outsider. His melodies can be as sweet as cream toffee, but you have to walk over broken glass to get to them. Addicted to puzzles and word games, he inserts them liberally into his lyrics, which are never for the dull witted. Before him, the American musical was a national pastime. Show tunes made the top 40, and everyone knew the numbers from Oklahoma. (In Sondheim, the corn is as high as a salamander‘s eye.) Even Kurt Weill cottoned that he had to transform the scabrous ironies of his Berlin work into something anodyne and folksy once he crossed the Atlantic. Sondheim alone was willing to write with a razor and strop. The way that critics reviled him, you’d think he filched the champagne from Die Fledermaus and substituted cyanide.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/sondheim-at-80-excerpts-from-sondheim-works/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Simon Rattle Conducts the Orchestra of the Age of Enlightenment in the Love Scene from Roméo et Juliette and Wagner&#8217;s Tristan, Act II</title>
		<link>http://berkshirereview.net/2010/08/rattle-tristan-orchestra-age-enlightenment/</link>
		<comments>http://berkshirereview.net/2010/08/rattle-tristan-orchestra-age-enlightenment/#comments</comments>
		<pubDate>Mon, 02 Aug 2010 06:58:12 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Wagner]]></category>
		<category><![CDATA[Berlioz]]></category>
		<category><![CDATA[Orchestra of the Age of Enlightenment]]></category>
		<category><![CDATA[period instruments]]></category>
		<category><![CDATA[Richard Wagner]]></category>
		<category><![CDATA[Romeo and Juliet]]></category>
		<category><![CDATA[Simon Rattle]]></category>
		<category><![CDATA[Tristan und Isolde]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7292</guid>
		<description><![CDATA[Point taken. Whenever period orchestras venture far beyond the Baroque, they have something to prove. But at last night’s concert of Wagner and Berlioz by the esteemed Orchestra of the Age of Enlightenment, some of the proof was self-evident. Banished completely are the intonation problems that plagued such ensembles in the past; one felt secure in the technical abilities of every section; the wind soloists played as expressively as anyone could wish. London is a center for period performance, which has become beloved. Sir Simon Rattle has conducted Act II of Tristan, in concert with the forces of Berlin and Vienna, but it’s good to be flexible, and since he enjoys a long-standing rapport with the OAE, they were a comfortable fit.
]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/rattle-tristan-orchestra-age-enlightenment/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Martin McDonagh&#8217;s The Beauty Queen of Leenane at The Young Vic</title>
		<link>http://berkshirereview.net/2010/08/martin-mcdonagh-beauty-queen-leenane-young-vic/</link>
		<comments>http://berkshirereview.net/2010/08/martin-mcdonagh-beauty-queen-leenane-young-vic/#comments</comments>
		<pubDate>Sun, 01 Aug 2010 17:18:49 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[A London Summer with Huntley Dent]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Faulkner]]></category>
		<category><![CDATA[Irish Theatre]]></category>
		<category><![CDATA[Joe Hill-Gibbins]]></category>
		<category><![CDATA[Martin McDonagh]]></category>
		<category><![CDATA[revival]]></category>
		<category><![CDATA[The Pillowman]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7274</guid>
		<description><![CDATA[Desperate measures. Because anarchy and rebellion are the brutal threads that run through modern Irish history, you’d expect the same from its literature. But the greatest Irish writers going back to Yeats and Joyce have avoided Soviet-style social realism. Some have kept their distance from Ireland altogether, including London-born Martin McDonagh, the greatest writer about the Troubles who never experienced them first hand. They are the toxic air he breathed from a distance but still choked on.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/08/martin-mcdonagh-beauty-queen-leenane-young-vic/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

<!-- Performance optimized by W3 Total Cache. Learn more: http://www.w3-edge.com/wordpress-plugins/

Minified using disk
Page Caching using disk (enhanced)
Database Caching 29/38 queries in 0.053 seconds using disk

Served from: berkshirereview.net @ 2010-11-10 14:00:51 -->