Loading...

Tag: Elizabeth Aspenlieder

Singer’s Notes 129: The Consul, the Tramp, and America’s Sweetheart at Oldcastle; Hamlet at Shakespeare & Co.; Kožená at Union College

Yet another success for this Company. There was vivid acting. Elizabeth Aspenlieder, as Mary Pickford, is an arresting actress, her voice resonant, her intentions clear. Ms. Aspenlieder enlivens every role she takes. She makes the character happen. There was an exceptional performance from David Joseph in the role of Charlie Chaplin. His work on the role, particularly the physical aspect of the character had a completeness which he imagined carefully and made his own.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 100: Shakespeare and Company’s Fall Festival

A good while ago now, I stepped into an ancient school bus, left a tiny hamlet in the foothills of the Adirondacks, and traveled to the glittering metropolis of Johnstown, New York. There, The Tempest was being played by a traveling troupe, and somehow our country school got us there. The play was The Tempest. When I walked into the dull brown everywhere auditorium, I saw marvelous things. There were great gauze curtains, aquamarine and pure blue, folding back and forth upon themselves, prompted by some invisible wind. This itself was enough to make the trip a rare event in my life!

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

Parasite Drag by Mark Roberts, directed by Stephen Rothman, at Shakespeare & Company through September 2

The midwestern family, hardly one of the United States’ more perfect contributions to civilization, has taken its share of abuse from writers since before Mark Twain’s time. In recent years, Tracy Letts, with his August: Osage County, started something of a industry for himself in the theatrical exploitation of this somewhat over-ripe institution, but he has by no means cornered the market. The American — not only the midwestern — family remains a gift that keeps on giving.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

A Singer’s Notes 39: Reading Theater

Books aren’t what they used to be. Now we have devices. They talk and sing. They are a library. But can they really be read? Could we have a reading of a play from a Kindle? Of course we could. But could we really? What about the sound of clicking instead of a page turning? Or worse, complete silence as the page turns? In two pleasant visits to Shakespeare and Company this late summer, I started thinking about these things. How active is reading anyway? Can we read King Lear better than it can be played? What about centuries of western civilization where only a fraction of the people on earth could read, and an even smaller group owned a book? There are some among us who are fans of these eras and who claim we have lost the orality that animated their cultures. Sounds a lot to me like what people are saying about books just now. I wondered in the lines above if the act of turning a page in a staged reading is an important one. Is the actual sound of the page turning important? Does it distance us from the acting, or does it broaden the experience into something which is at once public and private? Why is there a sense of privacy, perhaps secrecy, around a person who is reading, even if they read in public?

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes, 13: Youth Is Not Wasted on the Young – of Così Fan Tutte, Les Liaisons Dangereuses, and Romeo and Juliet

Cosi Fan Futte is an opera I have sung often so I looked forward to going to The Dangerous Liaisons that Shakespeare and Co. has had up for some time now. The brittleness of the spoken play and the precipitous action constantly crowding scene into scene requires exquisite skill from the actors in this play. Mozart’s opera seems expansive and almost sweet next to it. Making the epistolary prose of Laclos into a working drama of reasonable length is not an easy task. The action has an awful purity which is only softened at the very end and given an almost romantic turn as the true lovers die in close succession.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

Bad Dates with Elizabeth Aspenlieder of Shakespeare & Company

Theresa Rebeck’s solo play, Bad Dates, is Shakespeare & Company’s first offering in its first winter season. There’s a lot to be grateful in this, and it goes beyond having an alternative to traveling to New York City or Boston in the winter weather for decent theatrical entertainment. Not that theater in the Berkshires disappears at the end of summer. In fact Williams’ Dialogue One Theatre Festival gave us a feast of solo theater back in November, but it is still a great thing to have activity at Shakespeare & Co. in the blasts of January, especially of this piquant and entertaining sort.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.