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Tag: Francesca Zambello

Glimmerglass 2017: Opera in Angustiis: Commentaries for our Troubled Times in Stunning Glimmerglass Season Siege of Calais

The late Donizetti masterpiece, L’assedio di Calais (The Siege of Calais) is a rarity indeed, even in Europe. Four years after the first performance, l’assedio was not performed again until 1990.  One hundred and eighty-one years after its premiere in 1836, this Glimmerglass production marked the American premiere.  During its composition, Donizetti had struggled with it and bent operatic conventions to seek performances in Paris. Ultimately, the opera was a tactical failure and Donizetti wound up with two versions, with an unequal number of acts. In preparation for this production, Francesca Zambello and Joseph Colaneri worked on a new performing edition that tightened loose ends and yielded a satisfactory, if not compelling, conclusion.  Some ballet music was lost in the cuts, but dance (to curry favor with French opera goers) would be an awkward addition to the nobility and gravity of the plot. In the Zambello/Colaneri conclusion, the final exculpation of six sacrificial hostages was emotionally and musically heartrending.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

2015 Glimmerglass Preview: Verdi, Vivaldi, Mozart and Bernstein, April 19, Germantown, New York

Lucking into one of the first few nice days of a late spring, I attended the annual Glimmerglass Festival kickoff, hosted at Midwood, the secluded Germantown home of philanthropist Joan K. Davidson. This beautiful Sunday afternoon offered the enticements of the summer opera fare in Cooperstown along with hors d’oeuvres and wine. Francesca Zambello, the transformational Artistic & General Director of the Glimmerglass Festival, invited several young artists, veteran performers, and composers to further the cause.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

A Singer’s Notes 90: Strauss’s Ariadne auf Naxos at Glimmerglass

Director Francesca Zambello’s Ariadne in Naxos at Glimmerglass was a saucy and well-thought out production of one of Richard Strauss’s most difficult operas. Just shoe-horning the English translation into Strauss’s very specifically shaped German lines was a remarkable accomplishment. The rustic home-spun setting of the Prologue worked remarkably well as an analogue to the simply staged apotheosis. At first I thought that it wouldn’t, but it did.

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.

Glimmerglass 2013: A Retrospective

When I interviewed Francesca Zambello in 2011 she had just been named General and Artistic Director of the Glimmerglass Festival. Under her predecessor’s tenure, each opera season had a unifying “theme.”  Ms. Zambello quickly swore off such yearly festival themes as trite convention.  Yet, in 2012, as reported in this journal, one clearly felt the bristling fervency of social activism in every aspect of production.  That season was topped off with a provocative interview with Ruth Bader Ginsberg to a packed audience in her thrall at the Otesaga Hotel.  There were probably more law professors there that day than music lovers.  Her special appearance and the ethical themes woven into each opera production, made for a startling and refreshing season.  AidaMusic Man, Armide and most memorably, Lost in the Stars, were narratives, each quite unique, on the ethics of outworn societal patterns in the face of political, moral or economic change.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

2012 Retrospective: Reflections on the 2012 Glimmerglass Opera Festival

At first, music and baseball might seem to have little in common. But don’t tell that to sports diehards and opera buffs in upper New York State. At least not in July and August, when a multitudinous group of fans from across the US converge at the Baseball Hall of Fame in Cooperstown. This year’s annual induction ceremonies were held July 20–23. Meanwhile, just a few miles down the road, devotees of vocal aspirants flocked to the Glimmerglass Opera to hear and see them “play ball.”

About Karl Middleman

Known as an extremely versatile musician, Karl Middleman is familiar to classical music audiences as a conductor of many orchestras and choirs. The Suddeutsche Zeitung in Munich acclaimed Karl Middleman’s conducting as “resolute and impressive.” “Energetic, vivid, and hugely satisfying,” praised the Turkish Times.

A career educator, he has served on the faculties of Arcadia University, Cabrini, Philadelphia and Montgomery County Community Colleges. Currently he teaches at Temple University.

Recently he served as Arts Advocate and Trainer for the ‘Classroom Arts Project’ of Partners in Distance Learning, as well as Scholar in Known as an extremely versatile musician, Karl Middleman is familiar to classical music audiences as a conductor of many orchestras and choirs. The Suddeutsche Zeitung in Munich acclaimed Karl Middleman’s conducting as “resolute and impressive.” “Energetic, vivid, and hugely satisfying,” praised the Turkish Times.

A career educator, he has served on the faculties of Arcadia University, Cabrini, Philadelphia and Montgomery County Community Colleges. Currently he teaches at Temple University. Recently he served as Arts Advocate and Trainer for the ‘Classroom Arts Project’ of Partners in Distance Learning, as well as Scholar in Residence for the South Jersey and Philadelphia Jewish Community Centers. Currently he is a Commonwealth Speaker for the Pennsylvania Humanities Council. His “Dvorak in America,” TV program for PHC will be broadcast on Pennsylvania Cable Network in December 2011.

He is a regular workshop leader for Pendle Hill Retreat Center, where he teaches courses on music and aesthetics.

In 1994 Middleman initiated a series of legendary concerts with the Philadelphia Classical Symphony, mixing scholarship with showmanship. Middleman’s thematic concerts with that ensemble are noted for their spirited intellectual inquiry and for the bold, revelatory ways they reframe the essential classical music experience for seasoned as well as novice listeners.

He is a recipient of many awards from the National Endowment for the Arts, the Pew Center for Arts and Heritage and the Pennsylvania Council on the Arts. His artistry has been recently cited in 19th-Century Music and Philadelphia Magazine, from which his work with the Classical Symphony was twice awarded “Best of Philly.”

Crusading for Reason in an Age of Anger: Redefining Opera’s Role — Glimmerglass Festival 2012 and a Social-Centric Agenda

Should Art be merely an escape or refuge from the realities of our difficult times? In the 1940s, the debate heated and divided artists, musicians and scholars. In Wallace Stevens’s essay “The Noble Rider and The Sound of Words,” the twain are resolved in the idea that art, even “abstract” art can assume the role of social commentary only through innate and ineffable transformations of reality rather than by any explicit agenda dogmatically imposed by the creator. Great art could not be manhandled ideologically. How this solution might apply to opera of the past becomes the task of the director and musicians in balancing the surprisingly diverse elements of the music’s intent, the libretto’s intent, the historical context, and, yes, the composer’s objectives, if any. It is not surprising that Stevens regarded that an artistic creation had its own life apart from the creator’s wishes. Thus, we have the license for interpretation and deconstruction that has become the hallmark of Regietheater in our times.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

The San Francisco Ring, 2011 – Donald Runnicles, Conductor, Francesca Zambello, Stage Director

When any object is taken apart and reformed, does its substance remain what it was in the beginning? Nothung, Siegmund and Siegfried’s magical sword, proves stronger for having been shattered and forged anew. Does the Rhinegold itself acquire new properties through being the fatal, world-dominating ring, or when the Rhinemaidens receive it at the end of Götterdämmerung, has it the same intrinsic properties it did when Alberich stole it “twenty hours ago,” as Anna Russell clocked it?

Director Francesca Zambello, in her Americanized Ring Cycle, three-quarters of which were co-produced by Washington Opera, forged something new and wondrous from Wagner’s tremendous and often toxic masterwork. Not every bit of Wagner’s original symbolism reintegrates seamlessly into the newly fashioned work, and occasional cognitive dissonance results. Frankly, Wagner’s own sprawling cosmology—one part German myth, one part creative genius, one part tortured personal psychology—leaves many questions unanswered and any number of unresolved contradictions and loose ends. In San Francisco, the director and her designer colleagues shaped a remarkable production that transcended its occasional awkward moments and that touched the heart in ways I’ve never known this uniquely ambitious epic work to do before. The striking and varied stage pictures are the work of Michael Yeargan, the always illuminating costumes are by Catherine Zuber, the colorful, refreshing, and often exquisite lighting is by Mark McCullough. The many projections, used as backdrops and show curtain, were created by Jan Hartley. I didn’t find every element equally successful, but I left the theatre believing that this production had the mystical power to make the world a better place. The staging is that good.

David Dunn Bauer

About David Dunn Bauer

David Dunn Bauer is a rabbi, critic, and educator based in San Francisco. He writes regularly on issues of Torah, sexuality, Queer culture and community, and the arts. Before his rabbinical studies, he spent 15 years directing theatre and opera productions around the United States, Israel, and Europe. Having served as a congregational rabbi for many years, he now teaches about religion, Queer Judaism, and the nexus of spirituality and eros at colleges, synagogues, churches, and retreat centers nationwide. He is an alumnus of Yale University, the Reconstructionist Rabbinical College, the Institute for Jewish Spirituality rabbinic leadership program, and the certificate program in Sexuality and Religion at the Pacific School of Religion in Berkeley, CA. He studied music with Nadia Boulanger in 1976 and movement with the Liz Lerman Dance Exchange in 2010 and 2011. His contribution to the “It Gets Better Project” can be seen at http://www.youtube.com/watch?v=fIWDxPjhTSo. David creates Queer Jewish programming in the Bay Area for Nehirim (www.nehirim.org) and has a private Spiritual Counseling practice based in Queer theology, available to everyone (www.queerspiritualcounseling.com).

Between a Barn and Bayreuth: Francesca Zambello discusses her plans for Glimmerglass.

Francesca Zambello’s first season as Artistic Director of Glimmerglass will unfold very soon. Indeed, much in Cooperstown will be transformed by her vision, if not her brand of exciting and eclectic taste. At a gathering in Millbrook, New York, Ms. Zambello, undaunted by a leg cast and crutches from a fall earlier this year, pitched the lineup, and gave a clear and unequivocal justification for the launch of the newly dubbed “Glimmerglass Festival.” Ms. Zambello, who has an infectious sort of down-to-earth enthusiasm, is determined to make Glimmerglass a major draw. No longer merely a season of repertory operas clustered around weekends, the Festival will strive for wider audience appeal, and more lectures and recitals. Promoting Lake Otsego as a destination, it is hoped the rural beauty of the area will attract NYC visitors for long weekend stays.

Seth Lachterman

About Seth Lachterman

Seth Lachterman lives in Hillsdale, New York, which abuts the Berkshires in Massachusetts. While dividing his past academic career between music (composition and musicology) and mathematics, he has, over past three decades written original and critical works on the Arts. His essays have appeared in The Thomas Hardy Association Journal, English Literature in Transition, and poetry in The Raritan Quarterly. As a charter member and past president of the Berkshire Bach Society, he provided scholarly program notes for the Society’s concerts for over two decades. His Bach essays and reviews have been referenced in Wikipedia and have appeared in concerts at Ozawa Hall and the College of St. George, Windsor Castle.  Simultaneously, he has been a principal at Encore Systems, LLC, a software and technology consulting company. A president emeritus of Walking The Dog Theatre of Hudson, New York, he has invented a new technology for insuring privacy in text messaging and for social networking. In 2012, he founded UThisMe, LLC. to launch this new technology. Seth writes regularly for Berkshire Review of The Arts. When not listening to music, Seth Lachterman reads philosophy with a current interest in Heidegger.

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