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	<title>Berkshire Review, an International Journal for the Arts &#187; A Singer&#8217;s Notes by Keith Kibler</title>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
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		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
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	<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>
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		<title>Berkshire Review, an International Journal for the Arts &#187; A Singer&#8217;s Notes by Keith Kibler</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
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		<item>
		<title>A Singer&#8217;s Notes 25: He That Hath Ears to Hear, Let Him Hear</title>
		<link>http://berkshirereview.net/2010/10/crucible-ohlsson-inspector-hound/</link>
		<comments>http://berkshirereview.net/2010/10/crucible-ohlsson-inspector-hound/#comments</comments>
		<pubDate>Thu, 28 Oct 2010 19:59:26 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Arthur Miller]]></category>
		<category><![CDATA[Barrington Stage Company]]></category>
		<category><![CDATA[Garrick Ohlsson]]></category>
		<category><![CDATA[Shakespeare & Company]]></category>
		<category><![CDATA[Tom Stoppard]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8275</guid>
		<description><![CDATA[In The Crucible, the Proctors sit at their plain table with John's brief failing between them. He is a good man. He makes every situation better, more reasonable. He is a natural man. The land is his, and he is the land's. Everything is in the quietness. She is the quietness. Christopher Innvar with a voice which lurches sadly, breaks the silence. Kim Stauffer, with a face barren and wide, makes cautious answer, and holds the distance between them in her hands. ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>A Singer&#8217;s Notes 24: Words and Music</title>
		<link>http://berkshirereview.net/2010/09/words-and-music/</link>
		<comments>http://berkshirereview.net/2010/09/words-and-music/#comments</comments>
		<pubDate>Wed, 29 Sep 2010 14:20:58 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Alan Ayckbourn]]></category>
		<category><![CDATA[Babes in Arms]]></category>
		<category><![CDATA[Barrington Stage Company]]></category>
		<category><![CDATA[Belle da Costa Greene]]></category>
		<category><![CDATA[Berkshire Theatre Festival]]></category>
		<category><![CDATA[Harold Lewin]]></category>
		<category><![CDATA[Joan Ackermann]]></category>
		<category><![CDATA[Jonathan Epstein]]></category>
		<category><![CDATA[Maureen O'Flynn]]></category>
		<category><![CDATA[Music and More]]></category>
		<category><![CDATA[Nigel Gore]]></category>
		<category><![CDATA[Pierpont Morgan Library]]></category>
		<category><![CDATA[Rodgers' and Hart]]></category>
		<category><![CDATA[Shakespeare & Company]]></category>
		<category><![CDATA[Tina Packer]]></category>
		<category><![CDATA[Ventfort Hall]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7817</guid>
		<description><![CDATA[One Christmas my magic daughter gave me a picture of a baboon. Above it she wrote Prospero's valedictory line: "I'll drown my book." The animal had an expression of imponderable grief on its face. Words are exclusively human. But could it be said that animals sing? Music sets words free, back to their primal origin, leaping into the heart. Music is a language of knowing, of certainty. It has the raw truth of the baboon’s face. Maybe Prospero, whose name signifies hope, begins to sing when the book is drowned and the grief is past.]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>A Singer&#8217;s Notes 23: Three from the Bard</title>
		<link>http://berkshirereview.net/2010/09/shakespeare-winters-tale-richard-iii-macbeth/</link>
		<comments>http://berkshirereview.net/2010/09/shakespeare-winters-tale-richard-iii-macbeth/#comments</comments>
		<pubDate>Wed, 08 Sep 2010 07:39:34 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Berkshire Theatre Festival]]></category>
		<category><![CDATA[Macbeth]]></category>
		<category><![CDATA[Richard III]]></category>
		<category><![CDATA[Shakespeare & Company]]></category>
		<category><![CDATA[The Winter's Tale]]></category>
		<category><![CDATA[William Shakespeare]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7766</guid>
		<description><![CDATA[The Winter's Tale is the finest play by Shakespeare which nobody knows. Form and content meet and marry in this play. Everything is focused in a concentrated and clear line. The poet had two dry runs before writing the tale. Pericles, one of the most popular plays of the 17th century, is a rough-hewn rollicking tale which finds its heroine converting lechers and being lusted after by her own father. Next up, in the trial of romances, is Cymbeline, a complex rambling play with too many resurrections. The rightness of the The Winter's Tale takes us by surprise. The themes of the last plays: separation, fathers and daughters, emotional destruction and rebirthing, here seem to have found a shape which sears itself into the mind. The most played and latest of the romances, The Tempest, can seem almost valedictory after Winter's Tale.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>A Singer&#8217;s Notes 22: To Sing in Endless Morn of Light</title>
		<link>http://berkshirereview.net/2010/08/hubbard-hall-hansel-gretel-carter-dutoit/</link>
		<comments>http://berkshirereview.net/2010/08/hubbard-hall-hansel-gretel-carter-dutoit/#comments</comments>
		<pubDate>Tue, 31 Aug 2010 00:01:22 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Alexina Jones]]></category>
		<category><![CDATA[Charles Dutoit]]></category>
		<category><![CDATA[Dianna Heldman]]></category>
		<category><![CDATA[Elliott Carter]]></category>
		<category><![CDATA[Engelbert Humperdinck]]></category>
		<category><![CDATA[Hubbard Hall Opera Theater]]></category>
		<category><![CDATA[Kara Cornell]]></category>
		<category><![CDATA[Maurice Sendak]]></category>
		<category><![CDATA[Oliver Knussen]]></category>
		<category><![CDATA[Saratoga Performing Arts Center]]></category>
		<category><![CDATA[SPAC]]></category>
		<category><![CDATA[Tanglewood Music Center]]></category>
		<category><![CDATA[TMC]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7684</guid>
		<description><![CDATA[The very short apotheosis at the end of Humperdinck's "Hansel and Gretel" at Hubbard Hall made me think of confluences — the building, the performers, the audience. All of these were here in a gentle and honest synch. It was the most evenly cast opera I have heard in this venue. The staging was honest. The two singers in the title roles were convincing in the simplest way. They looked right, and they sounded right. In the dream sequence, which no staging can match, director Dianna Heldman brought to me a naturalness which was moving in its humility and acceptance of the place in which it was performed. The old hall itself seemed an ideal house for this reality. Nothing which Alexina Jones and Kara Cornell did as Gretel and Hansel was prolix. There was no fake childishness. Humperdinck could be said to have produced an adult's version of what childhood is- simple tunes, good things to eat, etc.  I suppose when compared to "The Magic Flute", an opera which really is childlike, this is true. But this dead-honest production and its raptly attentive audience in the golden light of the hall made it seem a miracle. There were no weak links on stage, and there were no false steps in the staging. It was great.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Singer&#8217;s Notes 21: So many good things&#8230;</title>
		<link>http://berkshirereview.net/2010/08/a-singers-notes-21-2010-berkshire-season-retrospective/</link>
		<comments>http://berkshirereview.net/2010/08/a-singers-notes-21-2010-berkshire-season-retrospective/#comments</comments>
		<pubDate>Mon, 23 Aug 2010 10:52:50 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Ariadne auf Naxos]]></category>
		<category><![CDATA[Bard Summerscape]]></category>
		<category><![CDATA[Francis Poulenc]]></category>
		<category><![CDATA[Franz Schreker]]></category>
		<category><![CDATA[Glimmerglass Opera]]></category>
		<category><![CDATA[Le nozze di Figaro]]></category>
		<category><![CDATA[Our Town]]></category>
		<category><![CDATA[Resonanz]]></category>
		<category><![CDATA[Richard Strauss]]></category>
		<category><![CDATA[Tanglewood Music Center]]></category>
		<category><![CDATA[Thornton Wilder]]></category>
		<category><![CDATA[Williamstown Theatre Festival]]></category>
		<category><![CDATA[Wolfgang Amadeus Mozart]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7567</guid>
		<description><![CDATA[Ah, the tone of a production. Was Schumann right when he quoted Schlegel at the top of his score to the Fantasie this way: "Through all the world's dream there sounds one tone for him who can hear it?" I'm thinking now of many different pieces — Our Town of Thornton Wilder, first. This concentrated text has the bareness, the emptiness of Greek tragedy on the page. The actions, however, are humble. Is there a single tone there?]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Singer’s Notes 20: Hubbard Hall Opera Theater’s upcoming “Hansel and Gretel” – an Interview with Cast Members</title>
		<link>http://berkshirereview.net/2010/08/hubbard-hall-opera-theater-hansel-and-gretel-interview/</link>
		<comments>http://berkshirereview.net/2010/08/hubbard-hall-opera-theater-hansel-and-gretel-interview/#comments</comments>
		<pubDate>Wed, 11 Aug 2010 07:59:34 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Engelbert Humperdinck]]></category>
		<category><![CDATA[Hansel and Gretel]]></category>
		<category><![CDATA[Hubbard Hall Opera Theater]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7375</guid>
		<description><![CDATA[Hubbard Hall Opera Theater presents

Hansel and Gretel, by Engelbert Humperdinck

 

Come see this fully costumed and staged opera, sung in English with supertitles and a 28 piece orchestra!
Performance dates: August 13, 14, 19, 20 at 8pm, August 22nd at 2pm]]></description>
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		<slash:comments>0</slash:comments>
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		<title>A Singer&#8217;s Notes 19: Remembering</title>
		<link>http://berkshirereview.net/2010/07/remembering-pieter-wispelwey-benjamin-bagby-tanglewood/</link>
		<comments>http://berkshirereview.net/2010/07/remembering-pieter-wispelwey-benjamin-bagby-tanglewood/#comments</comments>
		<pubDate>Wed, 28 Jul 2010 01:54:07 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Anner Bylsma]]></category>
		<category><![CDATA[Benjamin Bagby]]></category>
		<category><![CDATA[Beowulf]]></category>
		<category><![CDATA[Cello Suites]]></category>
		<category><![CDATA[Johann Sebastian Bach]]></category>
		<category><![CDATA[memory]]></category>
		<category><![CDATA[Pieter Wispelwey]]></category>
		<category><![CDATA[Tanglewood]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7179</guid>
		<description><![CDATA[Everywhere around me leaving two great concerts at Tanglewood this week, the talk was of those phenoms of memory, Benjamin Bagby and Pieter Wispelwey. Mr. Bagby spoke, sang, and roared Beowulf, and Mr. Wispelwey played all six of Bach's Cello suites. What is it about memory that engages people? Do they think they can't do it themselves? They're probably wrong about that. We are told that toddlers have a nearly photographic memory. The skill can be greatly enhanced with steady practice. Just ask a soap opera actor. Do we have so many machines that memory is becoming a slow information feed for us? Musicians and actors know in their minds and their bodies how second nature memory becomes when a great work is concentrated on. There is something else to it. I remember a great teacher saying when asked what artists do replying, "Artists remember in public." The whole act of performing is one of memory or if I may make a word work for me, rememory. Rememory is not the same as memorization. The latter is a technique; the former a state of mind. Easy memorization skills can be limiting. Nothing about a performer's work should be facile. Rememory is a state that leads the great work out of the performer's imagination with some kind of a dependable flow which can be trusted.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>A Singer&#8217;s Notes 18: Give My Ears a True Face</title>
		<link>http://berkshirereview.net/2010/07/a-singers-notes-sweeney-todd-barrington-amplification/</link>
		<comments>http://berkshirereview.net/2010/07/a-singers-notes-sweeney-todd-barrington-amplification/#comments</comments>
		<pubDate>Mon, 19 Jul 2010 03:39:10 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[amplification]]></category>
		<category><![CDATA[Barrington Stage Company]]></category>
		<category><![CDATA[Stephen Sondheim]]></category>
		<category><![CDATA[Sweeney Todd]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7041</guid>
		<description><![CDATA[I would like to say something about Barrington Stage's "Sweeney Todd" and the singing therein, but I feel prevented from doing so mainly because of some wires and gadgets.  The amplification in the show was so extreme that most of the ensemble singing was close to distortion. I think some of the singing in the show was quite good, even excellent, but I didn't really hear it. When one hears only a disembodied voice coming from God knows where, one doesn't see the face of the singer the same way. Hearing and seeing are not disconnected. There seems to be a plague creeping up on us. Everything on stage must now have a little boost. I think the excellent companies in our county should trust us]]></description>
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		<slash:comments>2</slash:comments>
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		<title>A Singer&#8217;s Notes 17: Great Things All Over</title>
		<link>http://berkshirereview.net/2010/07/great-things-all-over-sondheim-strauss-debussy-tanglewood/</link>
		<comments>http://berkshirereview.net/2010/07/great-things-all-over-sondheim-strauss-debussy-tanglewood/#comments</comments>
		<pubDate>Thu, 15 Jul 2010 23:29:38 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Benjamin Luxon]]></category>
		<category><![CDATA[Berkshire Bach Society]]></category>
		<category><![CDATA[Claude Debussy]]></category>
		<category><![CDATA[Funny Thing Happened on the Way to the Forum]]></category>
		<category><![CDATA[Gillian Opstad]]></category>
		<category><![CDATA[Kenneth Cooper]]></category>
		<category><![CDATA[Pelléas et Mélisande]]></category>
		<category><![CDATA[Raphael Frühbeck de Burgos]]></category>
		<category><![CDATA[Stephen Sondheim]]></category>
		<category><![CDATA[Tanglewood Music Center Orchestra]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6945</guid>
		<description><![CDATA[A few days later a chance to revel in Strauss's incidental music for Le Bourgeois Gentilhomme, conducted by the youngster of the conducting fellows, Alexander Prior. This young man made the music come out. The performance was full of character, each movement very well sung by the instruments. One could hear the words they were saying. His conducting was impetuous, but he also found space in the tender music that I would not have expected from one so young. Sarah Silver was absolutely splendid in the solo violin as was Caleb van der Swaagh playing the cello solo. I had always thought of this piece as "fluff", but this time it moved me. And did they ever play for him.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>A Singer&#8217;s Notes 16: Pélleas et Mélisande</title>
		<link>http://berkshirereview.net/2010/06/pelleas-et-melisande/</link>
		<comments>http://berkshirereview.net/2010/06/pelleas-et-melisande/#comments</comments>
		<pubDate>Sat, 26 Jun 2010 20:23:18 +0000</pubDate>
		<dc:creator>Keith Kibler</dc:creator>
				<category><![CDATA[A Singer's Notes by Keith Kibler]]></category>
		<category><![CDATA[Clause Debussy]]></category>
		<category><![CDATA[Maggie Teyte]]></category>
		<category><![CDATA[Mary Garden]]></category>
		<category><![CDATA[Natalie Dessay]]></category>
		<category><![CDATA[New Opera]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6671</guid>
		<description><![CDATA[Why has Debussy's Mélisande become a mezzo-soprano role? Maybe David Mamet has given me the answer to this. The playwright and bomb-thrower tells us in his new book "Theatre" that actors are in almost every case better off without a director, their own instincts leading the way. Mélisande has been sounding lower and lower over the decades (and Pélleas, too, for he always follow her wherever she goes). Here are the explanations we get: the part is low (surely Debussy realized this, yet did not change it, as he did for a baritone Pélleas), the orchestras are larger, the halls are larger, and maybe mezzos just want to do it. I have now in my imagination the idea that a century of cynicism has altered the instincts of the finest singers of the role, and also its finest hearers.]]></description>
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