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Jonathon Loy

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.(Comments Off on 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.)

July 27, 2016

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.

Jeannette Sorrell. Photo Roger Mastroianni.

Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller

Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.






David Finckel and Wu Han. Photo 2013 Lisa Mazzucco.

An Interview with Wu Han and David Finckel: Life after the Emerson Quartet and an Upcoming Concert at South Mountain Concerts

Along with the retirement of the Tokyo String Quartet, the departure of David Finckel from the Emerson Quartet has been one of the most discussed events in the world of chamber music over the past eighteen months or so. As people who have heard their concerts know, both David Finckel and the Emerson Quartet, now with the British cellist, Paul Watkins, in place, are as rich as ever in their contributions to our well-being as humans. Wu Han and David Finckel spoke with me just today about their new post-Emerson life, which allows David to travel and play more regularly with Wu Han as a duo and as a trio with Emerson violinist Philip Setzer, who will join them at the venerable South Mountain Concerts on Sunday, September 29, 2013. They will play Beethoven Op. 1, No. 2, Shostakovich’s Trio No. 2 in E Minor, Op. 67, and Dvořák’s Trio in E Minor, Op. 90, the “Dumky.”

I hope you enjoy our conversation about their past, present, and future as much as I did.






Jonas Alber, Conductor

Jonas Alber conducts the Staatsorchester Braunschweig in Franck’s D Minor Symphony—a Podcast.

Some months ago an email discussion arose among our writers and friends about César Franck’s D Minor Symphony. Steven Kruger, who heard the Chicago Symphony play the work under Riccardo Muti on a West Coast tour in February, was surprised to learn from Alex Ross’s review of their New York series in October (The New Yorker, Oct. 22, 2012) that the old warhorse, once performed at Carnegie Hall seven or eight times in a season, had become a rarity, played there only four times since 1988. Kruger observed: “I think senior conductors serve a function in recycling music that was popular forty-five years ago—in the same way that fashion does this. I’ve always noticed that sixty-five-year-olds in positions of power in the fashion industry see to it, perhaps unconsciously, that the styles they saw at age twenty make a return appearance. It is no accident that the women today look the way they did when I was 20. Somebody my age on “Seventh Avenue” is seeing to it that they do. Similarly, I’m delighted to have Muti bring us back to the pieces of our youth…” Ross quoted Muti, who said, “This fantastic symphony by Franck, it was played everywhere in Italy when I was young. Then, suddenly, it vanished. Why is this?”







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