We are delighted to announce that actor Gary Hilborn and playwright Michael Miller received the Award for Best One-Man Drama at the United Solo Closing Gala for "Transfiguration."
The knowledge fairy of L'École School of Jewelry Arts is dazzling New York City with a special, memorable experience through a two and half weeks selection of courses, conversations, and exhibitions at the Academy Mansion, 2 East 63rd Street. The three exhibitions — “Daniel Brush: Cuffs and Necks,” “Through the Eyes of a Connoisseur,” and “The Fabulous Destiny of Tavernier’s Diamonds: From the Great Mogul to the Sun King” — are free to the public.
The Dessoff’s core group of about forty singers was in great form, presenting a short work by Bach followed by William Shuman’s Carols of Death and then As Adam Early in the Morning, a world premiere by Douglas Geers as the first half of the program. The second half consisted of Messa di Requiem, composed in 1923, by Ildelbrando Pizzetti.
I’d be very much inclined to discuss this fascinating, moving, strange—and important—two hours of immersive theater, spread across some twenty spaces from the first to the third floor (as well as a mezzanine) of a townhouse not far from Gramercy Park, but it is supposed to close on November 18, and I feel I owe it to its creators and our readers to get the word out. This magical spectacle has been over three years in development, and I’m sure the organizers, Group.BR, led by Artistic Director Andressa Furletti would like as many people as possible to see the fruit of their hard work and curious imaginations.
A visit to the Guggenheim Museum usually involves walking up or down (I vote for top down) the winding ramp viewing art. Last night spectators lined the ramps to watch Michelle Dorrance and a group of black-clad performers push wooden platforms across the floor and make sounds by hitting the top of the ramp with sticks—sticks that made sounds but nonetheless sticks.
If you’re going to take a tour of Broadway musical theater numbers, you could find no better guide than Sean Hartley. Hartley, the host of the performance, is the director of the Theater@Kaufman, the musical theater division of Kaufman Music Center. He knows the history and entertaining ins and outs of the genre and presented them with insight and wit. On top of that, he can sing as he ably demonstrated in Anyone Can Whistle from the show of that name by Stephen Sondheim.
Plays, which happen in real time amidst a live audience who have assembled at a specific time to experience the performance, are inextricably interwoven with events and ideas of the moment. Austin Pendleton, for example, devised his brilliant conflation of Shakespeare's Henry VI and Richard III (to return to the stage at the Theater for a New City, December 3, 4, 5) in the shadow of the botched U.S. election of 2016 and installation of criminal elements in the highest tiers of government. This kind of inspiration is anything but uncommon.
The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Harper was the glowing, nimble soprano in Colin Davis’s renowned 1966 recording of Handel’s Messiah and in Davis’s top-flight recording (ca. 1978) of Britten’s Peter Grimes, featuring Jon Vickers. James King was a steady, sturdy singer, though less magical in sound than Harper. Among his memorable recordings are Das Lied von der Erde (with Fischer-Dieskau, Bernstein conducting) and Solti’s Ring Cycle (in which he sang Siegmund to Régine Crespin’s utterly lovable Sieglinde).