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NEW YORK CITY OPERA
New York City Opera Renaissance Gala Tribute to the Late Julius Rudel and Fundraiser. March 29, 2015 Michael Miller. The demise of New York's beloved City Opera seemed sudden and bizarre—and so painful to opera lovers in the City, that many lost sight of what a long process it was. The board's bad decisions went back around a decade. RACE AND SLAVERY IN MOZART OPERAS: A LETTER TO THE NEW A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart's Die Entführung aus dem Serail and Così fan tutte. ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIO A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-knownREMEMBERING ORMANDY
Even before this 10-CD commemorative set was issued, I noticed a wash of nostalgia for Eugene Ormandy among baby boomers. He was inescapable for that generation, the progenitor of hundreds of LPs, only a sampling of which are contained here. Ormandy became Leopold Stokowski’s associate conductor at the Philadelphia Orchestra in 1936 and succeeded him two years later, TCHAIKOVSKY, EUGENE ONEGIN, METROPOLITAN OPERA: HAMPSON Karita Mattila as Tatiana and Thomas Hampson as Onegin in Eugene Onegin, photo Beatriz Schiller/Metropolitan Opera. That first gesture put me on my guard somewhat, since it is unnecessary and distracting: the overture is intended to set the mood for the melancholy autumn scene on the estate. MICHELANGELO IN THE SISTINE CHAPEL: CELEBRATING FIVE prawled across the east wing that stretches from the papal residence to the Vatican Museums is an inscription commemorating one of Pope Julius II’s most important contributions to the complex now known as the Apostolic Palace: IULIUS II PONT MAX LIGURUM VI PATRIA SAONENSIS SIXTI IIII NEPOS VIAM HANC STRUXIT PONT COMMODITATI. The text is ambiguous in that “VI” may OTTO SCHENK’S RING AT THE MET Katarina Dalayman as Brünnhilde in Wagner's "Götterdämmerung," photo Marty Sohl/Metropolitan Opera Metropolitan Opera House March 25, April 11, 18, 25 April 27, 28, 30, May 2 Der Ring des Nibelungen by Richard Wagner libretto Richard Wagner (Cast listed in order of vocal appearance) Das Rheingold (March 25, April 27) Woglinde – Lisette Oropesa Wellgunde – VLADIMIR ASHKENAZY AND THE SYDNEY SYMPHONY ORCHESTRA To open the Sydney Symphony's 2012 season and the year of their 80th birthday, Vladimir Ashkenazy. artistic director and chief conductor, has put together a generous program of powerful German music. Beethoven's Ninth finds itself played to mark great occasions, the reopening of Bayreuth in 1953 comes to mind and its own creation came at the end of decades of war in Europe. A CROP OF RECORDINGS XXXIV: BRITISH HARVEST—BRITTEN It’s rare that a recording for strings alone wows listeners as a sonic blockbuster, but I celebrate this one from its first plucked, throbbing, filigree-laced chords. John Wilson has effectively reconstituted the Sinfonia of London, known to many in fond memory for Sir John Barbirolli’s unsurpassed 1962 LP of Vaughan Williams and Elgar. Wilson has set himself up for recording BELLINI, LA SONNAMBULA AT THE MET WITH DESSAY, FLÓREZ, AND Bellini, La Sonnambula at the Met with Dessay, Flórez, and Pertusi, dir. Zimmerman. An immense success in its first production in 1831 as well as in its first performances at the Met (1883), La Sonnambula’s popularity waned—at the Met at least—after the First World War. In later revivals, it was presented as a vehicle for sopranos whoNEW YORK CITY OPERA
New York City Opera Renaissance Gala Tribute to the Late Julius Rudel and Fundraiser. March 29, 2015 Michael Miller. The demise of New York's beloved City Opera seemed sudden and bizarre—and so painful to opera lovers in the City, that many lost sight of what a long process it was. The board's bad decisions went back around a decade. RACE AND SLAVERY IN MOZART OPERAS: A LETTER TO THE NEW A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart's Die Entführung aus dem Serail and Così fan tutte. ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIO A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-knownREMEMBERING ORMANDY
Even before this 10-CD commemorative set was issued, I noticed a wash of nostalgia for Eugene Ormandy among baby boomers. He was inescapable for that generation, the progenitor of hundreds of LPs, only a sampling of which are contained here. Ormandy became Leopold Stokowski’s associate conductor at the Philadelphia Orchestra in 1936 and succeeded him two years later, TCHAIKOVSKY, EUGENE ONEGIN, METROPOLITAN OPERA: HAMPSON Karita Mattila as Tatiana and Thomas Hampson as Onegin in Eugene Onegin, photo Beatriz Schiller/Metropolitan Opera. That first gesture put me on my guard somewhat, since it is unnecessary and distracting: the overture is intended to set the mood for the melancholy autumn scene on the estate. MICHELANGELO IN THE SISTINE CHAPEL: CELEBRATING FIVE prawled across the east wing that stretches from the papal residence to the Vatican Museums is an inscription commemorating one of Pope Julius II’s most important contributions to the complex now known as the Apostolic Palace: IULIUS II PONT MAX LIGURUM VI PATRIA SAONENSIS SIXTI IIII NEPOS VIAM HANC STRUXIT PONT COMMODITATI. The text is ambiguous in that “VI” may OTTO SCHENK’S RING AT THE MET Katarina Dalayman as Brünnhilde in Wagner's "Götterdämmerung," photo Marty Sohl/Metropolitan Opera Metropolitan Opera House March 25, April 11, 18, 25 April 27, 28, 30, May 2 Der Ring des Nibelungen by Richard Wagner libretto Richard Wagner (Cast listed in order of vocal appearance) Das Rheingold (March 25, April 27) Woglinde – Lisette Oropesa Wellgunde – VLADIMIR ASHKENAZY AND THE SYDNEY SYMPHONY ORCHESTRA To open the Sydney Symphony's 2012 season and the year of their 80th birthday, Vladimir Ashkenazy. artistic director and chief conductor, has put together a generous program of powerful German music. Beethoven's Ninth finds itself played to mark great occasions, the reopening of Bayreuth in 1953 comes to mind and its own creation came at the end of decades of war in Europe. SOPHOCLES' ANTIGONE, IN JAPANESE, DIRECTED BY SATOSHI Sophocles’ Antigone is a play written 2.500 years ago but in many ways relevant for today’s culture. In this performance, Greek tragedy and Japanese theater join forces to create a magical, mystic and spiritual experience of this tragedy in a show that combines Japanese culture and Greek drama. Twenty-nine actors and a director create an experience that deals with loss, memory, and dutyREMEMBERING ORMANDY
Even before this 10-CD commemorative set was issued, I noticed a wash of nostalgia for Eugene Ormandy among baby boomers. He was inescapable for that generation, the progenitor of hundreds of LPs, only a sampling of which are contained here. Ormandy became Leopold Stokowski’s associate conductor at the Philadelphia Orchestra in 1936 and succeeded him two years later, ANNE CARSON'S NORMA JEANE BAKER OF TROY, A Conflating the myth of Helen of Troy with the story of Norma Jeane Baker, aka Marilyn Monroe, is a terrific idea. Both women were revered for their beauty and lusted after by men far and wide; despite, or probably because of these characteristics, neither enjoyed a veryhappy life.
LE TOUR DE GUIMARDIA (VERSION FRANÇAISE) À ses devantures les pulls en cachemire aux couleurs des macarons. Derrière leurs digicodes ses hameaux reposants. Dans ses urnes les trois-quarts des votes pour Sarkozy. Cachés dans leurs Maseratis ses enfants habillés en noir. Le seizième arrondissement de Paris est en effet une péninsule entre le bois de Boulogne (qui lui appartient) etla Seine.
OTTO SCHENK’S RING AT THE MET Katarina Dalayman as Brünnhilde in Wagner's "Götterdämmerung," photo Marty Sohl/Metropolitan Opera Metropolitan Opera House March 25, April 11, 18, 25 April 27, 28, 30, May 2 Der Ring des Nibelungen by Richard Wagner libretto Richard Wagner (Cast listed in order of vocal appearance) Das Rheingold (March 25, April 27) Woglinde – Lisette Oropesa Wellgunde – MICHELANGELO IN THE SISTINE CHAPEL: CELEBRATING FIVE prawled across the east wing that stretches from the papal residence to the Vatican Museums is an inscription commemorating one of Pope Julius II’s most important contributions to the complex now known as the Apostolic Palace: IULIUS II PONT MAX LIGURUM VI PATRIA SAONENSIS SIXTI IIII NEPOS VIAM HANC STRUXIT PONT COMMODITATI. The text is ambiguous in that “VI” may BEYOND THE HORIZON, BY EUGENE O’NEILL AT Hard scrabble. America’s two greatest playwrights, Eugene O’Neill and Tennessee Williams, both met horrible ends that mirrored their world views. O’Neill, the tragic fatalist, was imprisoned by Parkinson’s disease, struggling to finish his last masterpiece in a crabbed, undecipherable hand. Williams, the perfumed fantasist of flesh, waned in a haze of drugs and alcohol (he died, with R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs INEXTINGUISHABLE FIRE Grieg's Composing Hut at Troldhaugen. Avery Fisher Hall Wednesday, October 10, 2012, 7:30 p.m. Friday, October 12, 2012, 8:00 p.m. Alan Gilbert, conductor Robert Langevin, flute Nikolaj Znaider, violin Nielsen - Flute Concerto Nielsen - Violin Concerto Tchaikovsky - Symphony No. 2, Little Russian Last week, the New York Philharmonic, under its director Alan Gilbert, AUDIENCE MISBEHAVIOR: EVERYONE WANTS TO GET IN ON THE ACT Audience members are invited onto the stage before Once begins. That said, uninvited involvement is extremely disruptive to everyone, performers and audience alike. “You can’t take it personally,” says Alysia Reiner, who won an ensemble SAG award for Sideways and appears frequently on off-Broadway stages.NEW YORK ARTS
Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth BELLINI, LA SONNAMBULA AT THE MET WITH DESSAY, FLÓREZ, ANDBELLINI LA SONNAMBULALA SONNAMBULA OPERALA SONNAMBULA ARIASLA SONNAMBULA FONTLA SONNAMBULA TRANSLATIONLA SONNAMBULA PLOT Bellini, La Sonnambula at the Met with Dessay, Flórez, and Pertusi, dir. Zimmerman. An immense success in its first production in 1831 as well as in its first performances at the Met (1883), La Sonnambula’s popularity waned—at the Met at least—after the First World War. In later revivals, it was presented as a vehicle for sopranos who THE CHERRY ORCHARD AT THE NATIONAL THEATRE Old shoes re-souled. There's a silent background to The Cherry Orchard for anyone born during the Cold War. The theme of social change, ambiguously written by Chekhov, took on a ferocious literalness after 1917. The niceties of the play are overshadowed by our knowledge of show trials, pogroms, and Soviet monsters to come. With all of that gone up in smoke, we find ourselves starting ERIN COURTNEY DEVINE, AUTHOR AT NEW YORK ARTS June 29, 2012 Erin Courtney Devine. When walking into Paris’s first retrospective exhibition of the photographs of Eva Besnyö at the Jeu de Paume, I was met with three mysterious images, visually linked by their askew perspectives. One is a self-portrait of Besnyö, who was born in Budapest in 1910 and broke free of Hungary’s provincial ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIOROBERT SCHUMANN COMPOSITIONAL STYLEROBERT SCHUMANN FACTSROBERT SCHUMANN MUSICBESTWORKS OF SCHUMANN
A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-known BEYOND THE HORIZON, BY EUGENE O’NEILL AT Hard scrabble. America’s two greatest playwrights, Eugene O’Neill and Tennessee Williams, both met horrible ends that mirrored their world views. O’Neill, the tragic fatalist, was imprisoned by Parkinson’s disease, struggling to finish his last masterpiece in a crabbed, undecipherable hand. Williams, the perfumed fantasist of flesh, waned in a haze of drugs and alcohol (he died, with FÉLICIEN DAVID'S HERCULANUM AT THE WEXFORD FESTIVAL: OPERA Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. JURAJ VALČUHA CONDUCTS THE SAN FRANCISCO SYMPHONY IN There are all sorts of motivations for going to a concert. As a former conductors' agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared TWO SONG RECITALS: MARK PADMORE AND FELICITY LOTT A heady combination. Lott sang in Wigmore Hall, about a week before Mark Padmore appeared in Cadogan for his broadcast. The BBC presenter gushed, and then out he came in white shirt and black suit for a short noontime program of Schubert and Schumann. Padmore has lately risen to the status of an improbable icon. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirsNEW YORK ARTS
Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth BELLINI, LA SONNAMBULA AT THE MET WITH DESSAY, FLÓREZ, ANDBELLINI LA SONNAMBULALA SONNAMBULA OPERALA SONNAMBULA ARIASLA SONNAMBULA FONTLA SONNAMBULA TRANSLATIONLA SONNAMBULA PLOT Bellini, La Sonnambula at the Met with Dessay, Flórez, and Pertusi, dir. Zimmerman. An immense success in its first production in 1831 as well as in its first performances at the Met (1883), La Sonnambula’s popularity waned—at the Met at least—after the First World War. In later revivals, it was presented as a vehicle for sopranos who THE CHERRY ORCHARD AT THE NATIONAL THEATRE Old shoes re-souled. There's a silent background to The Cherry Orchard for anyone born during the Cold War. The theme of social change, ambiguously written by Chekhov, took on a ferocious literalness after 1917. The niceties of the play are overshadowed by our knowledge of show trials, pogroms, and Soviet monsters to come. With all of that gone up in smoke, we find ourselves starting ERIN COURTNEY DEVINE, AUTHOR AT NEW YORK ARTS June 29, 2012 Erin Courtney Devine. When walking into Paris’s first retrospective exhibition of the photographs of Eva Besnyö at the Jeu de Paume, I was met with three mysterious images, visually linked by their askew perspectives. One is a self-portrait of Besnyö, who was born in Budapest in 1910 and broke free of Hungary’s provincial ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIOROBERT SCHUMANN COMPOSITIONAL STYLEROBERT SCHUMANN FACTSROBERT SCHUMANN MUSICBESTWORKS OF SCHUMANN
A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-known BEYOND THE HORIZON, BY EUGENE O’NEILL AT Hard scrabble. America’s two greatest playwrights, Eugene O’Neill and Tennessee Williams, both met horrible ends that mirrored their world views. O’Neill, the tragic fatalist, was imprisoned by Parkinson’s disease, struggling to finish his last masterpiece in a crabbed, undecipherable hand. Williams, the perfumed fantasist of flesh, waned in a haze of drugs and alcohol (he died, with FÉLICIEN DAVID'S HERCULANUM AT THE WEXFORD FESTIVAL: OPERA Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. JURAJ VALČUHA CONDUCTS THE SAN FRANCISCO SYMPHONY IN There are all sorts of motivations for going to a concert. As a former conductors' agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared TWO SONG RECITALS: MARK PADMORE AND FELICITY LOTT A heady combination. Lott sang in Wigmore Hall, about a week before Mark Padmore appeared in Cadogan for his broadcast. The BBC presenter gushed, and then out he came in white shirt and black suit for a short noontime program of Schubert and Schumann. Padmore has lately risen to the status of an improbable icon. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs RECORDINGS - NEW YORK ARTS Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth A CROP OF RECORDINGS XXXIV: BRITISH HARVEST—BRITTEN It’s rare that a recording for strings alone wows listeners as a sonic blockbuster, but I celebrate this one from its first plucked, throbbing, filigree-laced chords. John Wilson has effectively reconstituted the Sinfonia of London, known to many in fond memory for Sir John Barbirolli’s unsurpassed 1962 LP of Vaughan Williams and Elgar. Wilson has set himself up for recording CATRIN LLOYD-BOLLARD, AUTHOR AT NEW YORK ARTS DESTRUCTO SNACK, USA at Incubator Arts, NYC. June 10, 2012 Catrin Lloyd-Bollard. DESTRUCTO SNACK, USA. June 1-10, 2012. Incubator Arts, NYC. Written and performed by Theresa Buchheister and Sarah Graalman. Directed and produced by Buran Theatre & Title:Point Productions. Designed by Nicholas Kostner. We put ourselves on each and every day,like
SOPHOCLES' ANTIGONE, IN JAPANESE, DIRECTED BY SATOSHI Sophocles’ Antigone is a play written 2.500 years ago but in many ways relevant for today’s culture. In this performance, Greek tragedy and Japanese theater join forces to create a magical, mystic and spiritual experience of this tragedy in a show that combines Japanese culture and Greek drama. Twenty-nine actors and a director create an experience that deals with loss, memory, and duty RACE AND SLAVERY IN MOZART OPERAS: A LETTER TO THE NEW A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart's Die Entführung aus dem Serail and Così fan tutte. TCHAIKOVSKY, EUGENE ONEGIN, METROPOLITAN OPERA: HAMPSON Karita Mattila as Tatiana and Thomas Hampson as Onegin in Eugene Onegin, photo Beatriz Schiller/Metropolitan Opera. That first gesture put me on my guard somewhat, since it is unnecessary and distracting: the overture is intended to set the mood for the melancholy autumn scene on the estate. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs GLUCK'S IPHIGÉNIE EN TAURIDE AT THE MET WITH SUSAN GRAHAM Iphigénie en Tauride is a co-production with Seattle Opera. What a splendid idea to revive Gluck’s final masterpiece, Iphigénie en Tauride, on two great stages at opposite ends of the continent. Gluck, the great reformer, has been too long little more than a chapter — or, worse — a section of a chapter in music history books, andrecent
REMEMBERING ORMANDY
Even before this 10-CD commemorative set was issued, I noticed a wash of nostalgia for Eugene Ormandy among baby boomers. He was inescapable for that generation, the progenitor of hundreds of LPs, only a sampling of which are contained here. Ormandy became Leopold Stokowski’s associate conductor at the Philadelphia Orchestra in 1936 and succeeded him two years later, JANÁČEK'S FROM THE HOUSE OF THE DEAD, AFTER DOSTOEVSKY The enthusiastic response to this brilliant production makes it clear that the opera’s time has come. The Met has served Janáček fairly well over the years, for an American opera house, with productions of Jenufa in the 1970’s and 80’s, and The Makropoulos Case and Kát’a Kabanová in the 1990’s, continuing on into the new century. These productions have all been well received, butNEW YORK ARTS
Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth BELLINI, LA SONNAMBULA AT THE MET WITH DESSAY, FLÓREZ, ANDBELLINI LA SONNAMBULALA SONNAMBULA OPERALA SONNAMBULA ARIASLA SONNAMBULA FONTLA SONNAMBULA TRANSLATIONLA SONNAMBULA PLOT Bellini, La Sonnambula at the Met with Dessay, Flórez, and Pertusi, dir. Zimmerman. An immense success in its first production in 1831 as well as in its first performances at the Met (1883), La Sonnambula’s popularity waned—at the Met at least—after the First World War. In later revivals, it was presented as a vehicle for sopranos who THE CHERRY ORCHARD AT THE NATIONAL THEATRE Old shoes re-souled. There's a silent background to The Cherry Orchard for anyone born during the Cold War. The theme of social change, ambiguously written by Chekhov, took on a ferocious literalness after 1917. The niceties of the play are overshadowed by our knowledge of show trials, pogroms, and Soviet monsters to come. With all of that gone up in smoke, we find ourselves starting ERIN COURTNEY DEVINE, AUTHOR AT NEW YORK ARTS June 29, 2012 Erin Courtney Devine. When walking into Paris’s first retrospective exhibition of the photographs of Eva Besnyö at the Jeu de Paume, I was met with three mysterious images, visually linked by their askew perspectives. One is a self-portrait of Besnyö, who was born in Budapest in 1910 and broke free of Hungary’s provincial ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIOROBERT SCHUMANN COMPOSITIONAL STYLEROBERT SCHUMANN FACTSROBERT SCHUMANN MUSICBESTWORKS OF SCHUMANN
A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-known BEYOND THE HORIZON, BY EUGENE O’NEILL AT Hard scrabble. America’s two greatest playwrights, Eugene O’Neill and Tennessee Williams, both met horrible ends that mirrored their world views. O’Neill, the tragic fatalist, was imprisoned by Parkinson’s disease, struggling to finish his last masterpiece in a crabbed, undecipherable hand. Williams, the perfumed fantasist of flesh, waned in a haze of drugs and alcohol (he died, with FÉLICIEN DAVID'S HERCULANUM AT THE WEXFORD FESTIVAL: OPERA Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. JURAJ VALČUHA CONDUCTS THE SAN FRANCISCO SYMPHONY IN There are all sorts of motivations for going to a concert. As a former conductors' agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared TWO SONG RECITALS: MARK PADMORE AND FELICITY LOTT A heady combination. Lott sang in Wigmore Hall, about a week before Mark Padmore appeared in Cadogan for his broadcast. The BBC presenter gushed, and then out he came in white shirt and black suit for a short noontime program of Schubert and Schumann. Padmore has lately risen to the status of an improbable icon. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirsNEW YORK ARTS
Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth BELLINI, LA SONNAMBULA AT THE MET WITH DESSAY, FLÓREZ, ANDBELLINI LA SONNAMBULALA SONNAMBULA OPERALA SONNAMBULA ARIASLA SONNAMBULA FONTLA SONNAMBULA TRANSLATIONLA SONNAMBULA PLOT Bellini, La Sonnambula at the Met with Dessay, Flórez, and Pertusi, dir. Zimmerman. An immense success in its first production in 1831 as well as in its first performances at the Met (1883), La Sonnambula’s popularity waned—at the Met at least—after the First World War. In later revivals, it was presented as a vehicle for sopranos who THE CHERRY ORCHARD AT THE NATIONAL THEATRE Old shoes re-souled. There's a silent background to The Cherry Orchard for anyone born during the Cold War. The theme of social change, ambiguously written by Chekhov, took on a ferocious literalness after 1917. The niceties of the play are overshadowed by our knowledge of show trials, pogroms, and Soviet monsters to come. With all of that gone up in smoke, we find ourselves starting ERIN COURTNEY DEVINE, AUTHOR AT NEW YORK ARTS June 29, 2012 Erin Courtney Devine. When walking into Paris’s first retrospective exhibition of the photographs of Eva Besnyö at the Jeu de Paume, I was met with three mysterious images, visually linked by their askew perspectives. One is a self-portrait of Besnyö, who was born in Budapest in 1910 and broke free of Hungary’s provincial ROBERT SCHUMANN, THE COMPLETE WORKS FOR PIANO TRIOROBERT SCHUMANN COMPOSITIONAL STYLEROBERT SCHUMANN FACTSROBERT SCHUMANN MUSICBESTWORKS OF SCHUMANN
A close look at the notes for this 2-disc set will give one some insight into the splendeurs et misères of the contemporary classical recording industry. A grant from Fond for lyd og bilde, the Norwegian arts organization, and Leif Ove Andsnes' Gilmore Artist Award funded this recording, making it possible for a major commercial label, EMI, to release a recording of comparatively little-known BEYOND THE HORIZON, BY EUGENE O’NEILL AT Hard scrabble. America’s two greatest playwrights, Eugene O’Neill and Tennessee Williams, both met horrible ends that mirrored their world views. O’Neill, the tragic fatalist, was imprisoned by Parkinson’s disease, struggling to finish his last masterpiece in a crabbed, undecipherable hand. Williams, the perfumed fantasist of flesh, waned in a haze of drugs and alcohol (he died, with FÉLICIEN DAVID'S HERCULANUM AT THE WEXFORD FESTIVAL: OPERA Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. JURAJ VALČUHA CONDUCTS THE SAN FRANCISCO SYMPHONY IN There are all sorts of motivations for going to a concert. As a former conductors' agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared TWO SONG RECITALS: MARK PADMORE AND FELICITY LOTT A heady combination. Lott sang in Wigmore Hall, about a week before Mark Padmore appeared in Cadogan for his broadcast. The BBC presenter gushed, and then out he came in white shirt and black suit for a short noontime program of Schubert and Schumann. Padmore has lately risen to the status of an improbable icon. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs RECORDINGS - NEW YORK ARTS Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth A CROP OF RECORDINGS XXXIV: BRITISH HARVEST—BRITTEN It’s rare that a recording for strings alone wows listeners as a sonic blockbuster, but I celebrate this one from its first plucked, throbbing, filigree-laced chords. John Wilson has effectively reconstituted the Sinfonia of London, known to many in fond memory for Sir John Barbirolli’s unsurpassed 1962 LP of Vaughan Williams and Elgar. Wilson has set himself up for recording CATRIN LLOYD-BOLLARD, AUTHOR AT NEW YORK ARTS DESTRUCTO SNACK, USA at Incubator Arts, NYC. June 10, 2012 Catrin Lloyd-Bollard. DESTRUCTO SNACK, USA. June 1-10, 2012. Incubator Arts, NYC. Written and performed by Theresa Buchheister and Sarah Graalman. Directed and produced by Buran Theatre & Title:Point Productions. Designed by Nicholas Kostner. We put ourselves on each and every day,like
SOPHOCLES' ANTIGONE, IN JAPANESE, DIRECTED BY SATOSHI Sophocles’ Antigone is a play written 2.500 years ago but in many ways relevant for today’s culture. In this performance, Greek tragedy and Japanese theater join forces to create a magical, mystic and spiritual experience of this tragedy in a show that combines Japanese culture and Greek drama. Twenty-nine actors and a director create an experience that deals with loss, memory, and duty RACE AND SLAVERY IN MOZART OPERAS: A LETTER TO THE NEW A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart's Die Entführung aus dem Serail and Così fan tutte. TCHAIKOVSKY, EUGENE ONEGIN, METROPOLITAN OPERA: HAMPSON Karita Mattila as Tatiana and Thomas Hampson as Onegin in Eugene Onegin, photo Beatriz Schiller/Metropolitan Opera. That first gesture put me on my guard somewhat, since it is unnecessary and distracting: the overture is intended to set the mood for the melancholy autumn scene on the estate. R. C. SHERRIFF'S WORLD WAR I CLASSIC, JOURNEY'S END, ON For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs GLUCK'S IPHIGÉNIE EN TAURIDE AT THE MET WITH SUSAN GRAHAM Iphigénie en Tauride is a co-production with Seattle Opera. What a splendid idea to revive Gluck’s final masterpiece, Iphigénie en Tauride, on two great stages at opposite ends of the continent. Gluck, the great reformer, has been too long little more than a chapter — or, worse — a section of a chapter in music history books, andrecent
REMEMBERING ORMANDY
Even before this 10-CD commemorative set was issued, I noticed a wash of nostalgia for Eugene Ormandy among baby boomers. He was inescapable for that generation, the progenitor of hundreds of LPs, only a sampling of which are contained here. Ormandy became Leopold Stokowski’s associate conductor at the Philadelphia Orchestra in 1936 and succeeded him two years later, JANÁČEK'S FROM THE HOUSE OF THE DEAD, AFTER DOSTOEVSKY The enthusiastic response to this brilliant production makes it clear that the opera’s time has come. The Met has served Janáček fairly well over the years, for an American opera house, with productions of Jenufa in the 1970’s and 80’s, and The Makropoulos Case and Kát’a Kabanová in the 1990’s, continuing on into the new century. These productions have all been well received, but* About
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OCTOBER 19, 2019 THE SYDNEY SYMPHONY WITH VLADIMIR ASHKENAZY AND ALEXEI VOLODIN IN MEDTNER AND HOLST*
OCTOBER 19, 2019 WORKS & PROCESS ROTUNDA PROJECT AT THE GUGGENHEIM: DANCE THEATER OF HARLEM AT 50*
OCTOBER 19, 2019 BROADWAY CLOSE UP: BOUND FOR BROADWAY—LADIES FIRST*
NOVEMBER 1, 2019 THE HOPE HYPOTHESIS AT THE SHEEN CENTER FOR THOUGHT AND CULTURE, CLOSING NOVEMBER 15*
OCTOBER 27, 2019 OEDIPUS: SEX WITH MUM WAS BLINDING AT BAMNEW YORK ARTS
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THE HOPE HYPOTHESIS AT THE SHEEN CENTER FOR THOUGHT AND CULTURE,CLOSING NOVEMBER 15
__November 1, 2019 __Mari S. Gold Out-kafka-ing Kafka, this brisk, engaging play is a testimony to the ghastly bureaucratic nightmare surrounding the American immigration scenario. Syrian-born lawyer-to-be Amena has everything in order to become a U.S. citizen but, starting with a visit to the immigration office, things go badly.Read More
Contemporary Opera
OEDIPUS: SEX WITH MUM WAS BLINDING AT BAM __October 27, 2019 __AngelaConstantinidou
Sophocles’ _Oedipus Rex_ becomes an inspiration for the creation of this immersive opera—developed partly by the director at Stanford University—a musical performance that manages to mix music with new technologies and neuroscience with grace.Read More
Music
THE SYDNEY SYMPHONY WITH VLADIMIR ASHKENAZY AND ALEXEI VOLODIN INMEDTNER AND HOLST
__October 19, 2019 __Steven Kruger Who would ever suppose an obscure one-movement piano concerto could produce this sort of triumph? Alexei Volodin simply and unexpectedly swept away his Sydney listeners at this concert to frenzied screams with his performance of the Medtner Piano Concerto No.1. Our audience came to hear _The Planets_ no doubt, but many just as surely emerged, like me, a dazed convert to Medtner, as if taken over by pods in my sleep from_ Invasion of the Body Snatchers._ It was a stunningexperience.
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Dance
WORKS & PROCESS ROTUNDA PROJECT AT THE GUGGENHEIM: DANCE THEATER OFHARLEM AT 50
__October 19, 2019 __Mari S. Gold _“The arts ignite the mind, they give you the possibility to dream and to hope."_ So said Arthur Mitchell, founder of the Dance Theatre of Harlem. The company made its official New York debut in 1971 in the rotunda of New York’s Guggenheim Museum. To celebrate the Guggenheim building's 60th and Dance Theatre of Harlem's 50th anniversaries, Works & Process, the performing arts series at the museum, presented a Rotunda Project that acknowledged Mitchell’s death in September, 2018 by including a restaging of his _Tones II_ by former DTH principal ballerina Lorraine Graves with assistance from former principal ballerina Caroline Rocher.Read More
Musical Theater
BROADWAY CLOSE UP: BOUND FOR BROADWAY—LADIES FIRST __October 19, 2019 __Mari S. Gold Tony nominee and Emmy Award-winning singer and actress Liz Callaway hosted the evening, delighting the audience both with her presence and her acknowledgement that all of the evenings’ shows were written or co-written by women. Charming, unpretentious and funny, she launched into_ You Don’t Own Me, _a 60s shout-out to women’s lib (although the movement didn’t hit its stride for another decade.)Read More
New York Arts
ONLY TWO DAYS AWAY! TWO PERFORMANCES ONLY MICHAEL MILLER’S SOLO PLAY, TRANSFIGURATION, AT THE METROPOLITAN PLAYHOUSE AND THE NEW YORK INTERNATIONAL FRINGE FESTIVAL, OCTOBER 12TH (7:30 PM) AND 13TH (2 PM). BUY YOUR TICKETS NOW! __October 10, 2019 __The Editor Michael Miller’s solo play “Transfiguration,” winner of Best One-Man Drama at the 2018 United Solo Festival, will return to New York City on October 12th (7:30 pm) and 13th (2 pm) at the Metropolitan Playhouse as partof the …
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Coming Up and Of Note ONLY A WEEK AWAY! MICHAEL MILLER’S SOLO PLAY, “TRANSFIGURATION”, AT THE METROPOLITAN PLAYHOUSE AND THE NEW YORK INTERNATIONAL FRINGE FESTIVAL, OCTOBER 12TH (7:30 PM) AND 13TH (2 PM). BUY YOUR TICKETS NOW! __October 5, 2019 __Michael Miller Michael Miller's solo play "Transfiguration," winner of Best One-Man Drama at the 2018 United Solo Festival, will return to New York City on October 12th (7:30 pm) and 13th (2 pm) at the Metropolitan Playhouse as part of the 2019 New York International Fringe Festival . Gary Hilborn will repeat his award-winning performance, directed by Graydon Gund .Read More
Opera
OPERA OLD, NEW, BORROWED, BLUE: GLIMMERGLASS 2019 __October 5, 2019 __Seth Lachterman The raucous, kaleidoscopic intertextual mash-up of Beaumarchais, Mozart, Rossini, Strauss, and Peter Weiss is grand entertainment. It is so obsessively referential to other operas and plays that the nearly three hours of puns, parodies and lampoons might be wasted on anyone other than certified opera nerds. One might believe that William Hoffman and John Coragliano overdosed on Douglas Hofstadter’s reflection on self-reflection, _Gödel, Escher, Bach_, Michael Zemeckis’ _Future_ franchise films, and von Hofmannsthal/Strauss’s _Ariadne auf Naxos_.Read More
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THE LATEST ON HUDSON-HOUSATONIC ARTS: HUDSON-HOUSATONIC ARTS WIRE AND LIGHT LEGERDEMAIN: RICHARD HARRINGTON’S UNIQUE ART AT MCLA GALLERY 51, NORTH ADAMS, MASSACHUSETTS The mysteries of these works deepen when illuminated with a spectral light slit and allowed to traverse the physiognomy of the hard-metallic torsos. TUNDI’S REMARKABLE TRISTAN UND ISOLDE AT THE LATCHIS THEATRE IN BRATTLEBORO, VERMONT With the extraordinarily high standards of conservatory graduates today, performances of Wagner’s music dramas have fled beyond the precinct of the very largest opera houses, and we may well forget how difficult it was only a couple of generations ago to cast and stage _Tristan und Isolde_ at, say, the Metropolitan Opera, which once had to cast one Tristan per act, when the billed tenor was indisposed, and the two available replacements were also under the weather. Already by then the aging devotees of Flagstad and Melchior grumbled about just how far their standards would have to sink, before they stopped going to hear Wagner in New York. I still hear that today from long-timeWagnerians.
A SINGER’S NOTES 154: JOHANN PACHELBEL, JOHANN SEBASTIAN BACH, ANTONIO VIVALDI, AND HEITOR VILLA LOBOS The Aston Magna concert of July 27 in Saint James Place in Great Barrington featuring music of Johann Pachelbel, Johann Sebastian Bach, Antonio Vivaldi, and Heitor Villa Lobos was a feast of beauty. The variety of works by these composers gave the ensemble and featured soloists opportunities to display their virtuosity and their admirable expressiveness. Aldo Abreu delighted the audience with brilliant skill in Vivaldi’s Concert for Sopranino Recorder in A minor. He and Christopher Krueger, also on recorder, were then featured in a performance of Bach’s Brandenburg Concerto No. 4 in G Major, along with violinist Edson Scheid who commanded his solo part with tremendous skill and playfulness. A SINGER’S NOTES 153—SHAKESPEARE AND COMPANY: TWO OUTDOOR PERFORMANCES: THE TAMING OF THE SHREW AND THE MERRY WIVES OF WINDSOR In Williams Shakespeare’s _The Taming of the Shrew,_ the Bard baits us at every moment. We all long for a sweet love-life. Finding this requires, in this play, a whole lot of passionate listening, and in Shakespeare and Company’s outdoor production in the Dell at the Mount, director Kelly Galvin gave it to us. A SINGER’S NOTES 152: NATIONAL YOUTH ORCHESTRA OF THE UNITED STATES AT TANGLEWOOD, SIR ANTONIO PAPPANO CONDUCTION, WITH ISABEL LEONARD,MEZZO-SOPRANO
Conductor Antonio Pappano led the young players of the National Youth Orchestra of the United States in a spectacular performance of Richard Strauss’s Alpine Symphony on August 1st in Ozawa Hall at Tanglewood. The Alpine Symphony is well-known to be one of the most difficult orchestral pieces in the symphonic repertoire. To watch the intensity of these instrumentalists was almost as wonderful as hearing them. The hall vibrated with exuberance as well as tenderness. Conductor Antonio Pappano has every right to be proud of this superb young group ofplayers.
WAGNER’S DIE WALKÜRE AND VERDI’S REQUIEM UNDER ANDRIS NELSONS ATTANGLEWOOD
Opera has been a significant presence at Tanglewood since the 1940s, whether in concert performances at the Koussevitzky Music Shed or fully-staged in the Theater—among the first structures to be built at Tanglewood, but disused since the Levine years—and I’ll confess a certain fondness for it, in spite of its spartan grimness, uncomfortable seats, and less-than-ideal acoustics. There, TMC Vocal Fellows and the TMC Orchestra could flex their muscles with sets and costumes, often producing superb results, above all in Mozart. The high points of opera at Tanglewood include performances of rarities under Leinsdorf and Ozawa, and I should mention Dutoit’s superb performance of Berlioz’s _La Damnation de Faust_ in the Shed, as well as Szymanowski’s great _Król Roger_ in Symphony Hall. Verdi’s _Don Carlo_ and Tchaikovsky’s _Eugene Onegin_, both with the TMC Orchestra were also outstanding events at Tanglewood. A SINGER’S NOTES 151: GIANCARLO GUERRERO LEADS THE TMC ORCHESTRA IN MAHLER’S FOURTH SYMPHONY Gustav Mahler’s Symphony No. 4 at Tanglewood is what I have been waiting for throughout the summer. A while ago I had the privilege of hearing this magnificent work in the Musikvereinsaal in Vienna. Though it may seem childish to say so, the slow movement of the great piece is almost frightening. So powerful it is when the first chord sounds in the third movement, it is as if a spirit has entered your body, is opening your ears, is finding and knowing more about being human than comes from any other work of art. This great movement produces a catholic music so sublime, it engulfs all my passions.CATEGORIES
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