Latest Posts

Ibsen, Strindberg and their Acolytes – a Retrospective

John Douglas Thompson and Maggie Lacey in A Doll's House. Photo Henry Grossman.

The double bill of early plays by Eugene O’Neill, brilliantly directed by Alex Roe, which recently closed at the Metropolitan Playhouse, appears as the answer to a question posed by another double bill (of sorts, one would have to say, since they are paired in repertory but not in a single performance) presented by the Theater for a New Audience of Ibsen’s A Doll’s House (1879) and Strindberg’s The Father (1887), and it makes sense to discuss them all together. The question is, “What next?”

A Crop of Recordings XIII: Richard Strauss, Hans Rott, Alberto Ginastera, Robert Schumann, and Gabriel Fauré

Alberto Ginastera with Cat

This is a groundbreaking recording—and a wonderful one! I first became aware of Elektra on an old Fritz Reiner/Inge Borkh LP of excerpts. The unusual violence of Strauss’s harmonies appealed to my teenage ears. Not long after, Georg Solti taped the complete opera, though without, I felt, the same crushing power from the podium as Reiner. But the sound of the orchestral score remained with me, and I always hoped someone would put together a suite. It’s taken 54 years in my case—but here it is!

Félicien David’s Herculanum at the Wexford Festival: Opera Grand and Melodious

Émile Pierre Metzmacher. Portrait of Félicien David, 1858.

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. Reviewers of the recording, including New York Arts contributor Ralph P. Locke, were struck by the melodic richness of the music, the keenly characterized solo roles, and the imaginative use of orchestra and chorus. Reviewers of the Wexford production were more muted, though perhaps the low-budget and curiously updated production had something to do with that. Locke, who is a professor emeritus of musicology at the Eastman School of Music, contributed an essay to the WFO’s program book that gives a sense of this fascinating work. We reprint it here with the festival’s kind permission.

Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting

Manfred Honeck. Photo Felix Broede.

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven’s First Piano Concerto with Inon Barnatan and Mahler’s First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner’s Fourth Symphony and looks forward to recording the Ninth.

In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers.

[powerpress]

Keys to Romance, the Carnegie Hall Debut of Pianist Christina Kobb, Weill Hall, February 24, 2017

Christina Kobb

On February 24 at 8PM, DCINY presents 19th-century piano technique expert Christina Kobb in a performance of her program titled Keys to Romance. The Norwegian pianist and scholar makes her Carnegie Hall debut performing an evening of Romantic piano works by Schubert, Robert Schumann, Clara Schumann, Grieg, and Liszt.

The Young Pope HBO limited series. Written and directed by Paolo Sorrentino.

The Young Pope in the Sistine Chapel. Photo Gianni Fiorito.

The Young Pope, widely greeted and at the same time widely dismissed as merely a visual spectacle, actually accomplishes something considerably deeper. It does for the papacy what Bernardo Bertolucci’s The Last Emperor (1987) did for the decaying Ching dynasty and what Roberto Rossellini’s The Rise of Louis XIV (1966) did for the Sun King. In a lavish, slow-motion ritual where the protagonist is encased in a cocoon of surreal pomp and majesty, The Young Pope brings to bear the full panoply of cinema to ask how human existence created such a bizarrely inhuman situation.

The Museum Workout, Monica Bill Barnes & Company, at the Metropolitan Museum of Art

Monica Bill Barnes troupe exercised their way through the Met's armor court, the author front and center.

I saw Monica Bill Barnes & Company a few years ago when the troupe performed Three Acts, Two Dancers, One Radio Host which I found very entertaining. This experience was just as engaging but in a very different way. About fifteen women gathered before the museum opened and were ushered to the Education Area to put away coats and anything else we’d brought. We were told to wait “and stretch if you like.” After a brief introduction from Robbie Saenz de Viteri, the company’s Creative Producing Director, we were led to the foot of the great stairs where Monica Bill Barnes and her longtime dance partner, Anna Bass, both in sequined gowns and sneakers, greeted us.

Memorial Hall, Chapel Hill, North Carolina – Two Orchestras, East and West

Tonu Kalam

I had the pleasure of visiting Chapel Hill at a festive, eclectic time early last December. It was exam week at the University of North Carolina. This won’t quite be a review as a result—more a series of hopeful impressions from that impressive musical crucible. Old friend Tonu Kalam, who leads the UNC Orchestra, and new wife Karyn Ostrom, who plays violin in it, pulled out all the stops for my visit. In the course of several days, I took in Kalam’s orchestra at rehearsal and concert, witnessed a conducting class, attended a student chamber recital and heard the China Philharmonic perform a new concerto written for UNC pianist Clara Yang. I came away impressed, as I always do at UNC, rejuvenated by the high level of musical interest and talent at play on campus.

Art

The Museum Workout, Monica Bill Barnes & Company, at the Metropolitan Museum of Art

Monica Bill Barnes troupe exercised their way through the Met's armor court, the author front and center.

I saw Monica Bill Barnes & Company a few years ago when the troupe performed Three Acts, Two Dancers, One Radio Host which I found very entertaining. This experience was just as engaging but in a very different way. About fifteen women gathered before the museum opened and were ushered to the Education Area to put away coats and anything else we’d brought. We were told to wait “and stretch if you like.” After a brief introduction from Robbie Saenz de Viteri, the company’s Creative Producing Director, we were led to the foot of the great stairs where Monica Bill Barnes and her longtime dance partner, Anna Bass, both in sequined gowns and sneakers, greeted us.

Bill Viola: The Moving Portrait: Smithsonian: National Portrait Gallery, Washington DC, November 18, 2016 – May 7, 2017.

Dolorosa, 2000. Video diptych © Bill Viola. Photo The J. Paul Getty Museum, Malibu.

Bill Viola, one of the most sought-after artists internationally, early selected a contemporary medium to address broad humanistic questions. Embracing global perspectives that include Christian theology, Zen Buddhism, and Islamic Sufi mysticism, his videos address our hybrid existence as matter and thought, our memories, empathy with others, and transitions through birth, death and aging. Organized by Asma Naeem, curator of prints, drawings and media art, in consultation with Viola’s creative partner, Kira Perov and the Bill Viola Studio, the exhibition displays eleven works that span the artist’s early career to the present. Kim Sajet, director of the National Portrait Gallery, expressed his delight in inviting “visitors to enter the museum’s newly created media galleries to experience portraiture in its most telling and current form: moving revelations of the human body and spirit that befit our digital age.” In the accompanying 20-page brochure, Naeern provides a contextualizing overview; the artist comments simply on the action in each piece. The viewer is encouraged to make associations, a direction Viola advocated in an earlier interview: “images have their life because they’re untethered and free floating” (video: Bill Viola and the making of Emergence by Mark Kidel, 2003).

Music

A Crop of Recordings XIII: Richard Strauss, Hans Rott, Alberto Ginastera, Robert Schumann, and Gabriel Fauré

Alberto Ginastera with Cat

This is a groundbreaking recording—and a wonderful one! I first became aware of Elektra on an old Fritz Reiner/Inge Borkh LP of excerpts. The unusual violence of Strauss’s harmonies appealed to my teenage ears. Not long after, Georg Solti taped the complete opera, though without, I felt, the same crushing power from the podium as Reiner. But the sound of the orchestral score remained with me, and I always hoped someone would put together a suite. It’s taken 54 years in my case—but here it is!

Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting

Manfred Honeck. Photo Felix Broede.

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven’s First Piano Concerto with Inon Barnatan and Mahler’s First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner’s Fourth Symphony and looks forward to recording the Ninth.

In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers.

[powerpress]

Theater

Ibsen, Strindberg and their Acolytes – a Retrospective

John Douglas Thompson and Maggie Lacey in A Doll's House. Photo Henry Grossman.

The double bill of early plays by Eugene O’Neill, brilliantly directed by Alex Roe, which recently closed at the Metropolitan Playhouse, appears as the answer to a question posed by another double bill (of sorts, one would have to say, since they are paired in repertory but not in a single performance) presented by the Theater for a New Audience of Ibsen’s A Doll’s House (1879) and Strindberg’s The Father (1887), and it makes sense to discuss them all together. The question is, “What next?”

New Ohio Theatre presents George & Co. in HOLDEN, written and directed by Anisa George

Scott Sheppard, Jaime Maseda. Photo plate3.com.

J. D. Salinger has been dead for seven years, and his admirers have long given up hope of an unpublished masterpiece emerging from the bunker in which he spent the greater part of his last forty years, struggling with drafts, ideas, and obsessions. His much-publicized life in isolation, where he vainly attempted to wring out another success of the order of The Catcher in the Rye acquired a universality as a Promethean myth of the agonies of the creative life. Whether the artist manages to keep inspiration alive or has in truth dried up, life is by no means easy. Salinger’s was a particularly American myth, foreshadowed by Ernest Hemingway and his decline in his later years and perhaps Melville, by those would discount Pierre and The Confidence-Man.

Opera

Félicien David’s Herculanum at the Wexford Festival: Opera Grand and Melodious

Émile Pierre Metzmacher. Portrait of Félicien David, 1858.

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. Reviewers of the recording, including New York Arts contributor Ralph P. Locke, were struck by the melodic richness of the music, the keenly characterized solo roles, and the imaginative use of orchestra and chorus. Reviewers of the Wexford production were more muted, though perhaps the low-budget and curiously updated production had something to do with that. Locke, who is a professor emeritus of musicology at the Eastman School of Music, contributed an essay to the WFO’s program book that gives a sense of this fascinating work. We reprint it here with the festival’s kind permission.

2016 in retrospect — The Bard Music Festival: Giacomo Puccini and his World

Giacomo Puccini. © Frank C. Bangs, Library of Congress.

If advance gossip is any indicator, this year’s Bard Festival, devoted to Giacomo Puccini and his World, was one of the most controversial. “Puccini! Controversial!” You say, “There’s not really enough in him to have a controversy about, is there? Those sappy tear-jerkers speak for themselves.” In fact there was a lot of grumbling. Some festival regulars stayed away, or dragged themselves to only one concert, the one that included pieces by Dallapiccola, Pizzetti, and Petrassi. Even with these absentees the Festival sold out, or came close to selling out. Most of the concerts and the panel discussions were packed.

Dance

The Museum Workout, Monica Bill Barnes & Company, at the Metropolitan Museum of Art

Monica Bill Barnes troupe exercised their way through the Met's armor court, the author front and center.

I saw Monica Bill Barnes & Company a few years ago when the troupe performed Three Acts, Two Dancers, One Radio Host which I found very entertaining. This experience was just as engaging but in a very different way. About fifteen women gathered before the museum opened and were ushered to the Education Area to put away coats and anything else we’d brought. We were told to wait “and stretch if you like.” After a brief introduction from Robbie Saenz de Viteri, the company’s Creative Producing Director, we were led to the foot of the great stairs where Monica Bill Barnes and her longtime dance partner, Anna Bass, both in sequined gowns and sneakers, greeted us.

Literature

riverrun runs wild in Brooklyn, with performance artist Olwen Fouéré

Olwen Fouéré in riverrun at BAM. Photo Rebecca Greenfield.

You’ve doubtless read somewhere or another or heard someone say that our relationship to novels is much like our relationships to people (our relationships to their authors, living and dead, are a whole other thing). That may sound trite, but it has its degree of truth. In no case is it so true as in the case of Finnegan’s Wake. In most cases James Joyce’s last novel is like some celebrity academic, who jets constantly between, say, Paris and Berkeley, but never crosses our path. Others may have approached the great man at the podium after a lecture and tried to ask a private question, only to be

John Banville talks to Michael Miller about Love in the Wars, his English adaptation of Kleist’s Penthesilea

Heinrich von Kleist and John Banville

John Banville and Michael Miller discuss Love in the Wars, his free English adaptation of Heinrich von Kleist’s play, Penthesilea, with a digression about the rest of Mr. Banville’s work, before returning to the play, which will receive its world premiere at Bard College Summerscape. Kleist’s theatrical ambition was to fuse Greek tragedy with Shakespearean “burlesque.” The work shows his pessimistic world view spiced with black Prussian humor.

About NYC

Cinema

The Young Pope HBO limited series. Written and directed by Paolo Sorrentino.

The Young Pope in the Sistine Chapel. Photo Gianni Fiorito.

The Young Pope, widely greeted and at the same time widely dismissed as merely a visual spectacle, actually accomplishes something considerably deeper. It does for the papacy what Bernardo Bertolucci’s The Last Emperor (1987) did for the decaying Ching dynasty and what Roberto Rossellini’s The Rise of Louis XIV (1966) did for the Sun King. In a lavish, slow-motion ritual where the protagonist is encased in a cocoon of surreal pomp and majesty, The Young Pope brings to bear the full panoply of cinema to ask how human existence created such a bizarrely inhuman situation.

Manchester by the Sea, Written and Directed by Kenneth Lonergan

Michelle Williams and Casey Affleck in Manchester by the Sea.

A plot about the walking wounded is an indie staple, and Manchester by the Sea wears no external garb beyond the stereotype. Lee Chandler (Casey Affleck) isn’t an Iraq War vet or a widower whose dead wife has left him bereft. At first we don’t know why he’s wounded—the opening scenes are of a taciturn, truculent janitor in a small apartment building in Quincy, outside Boston. Lee is thirty-something, scruffy, eyes averted, and armed with a huge chip on his shoulder that causes him to lash out at a bitchy tenant with a defiant lack of remorse. In his psyche the tarp is nailed down at all four corners unless a gust of wind flaps one up.

Places

Bomarzo tra il Santo Biscotto e la Fava Marxista: La Festa di Sant’Anselmo (April 23-25, 2014)

Il biscotto di Sant'Anselmo

My days in Bomarzo in 2009 did not show the town at its most industrious…or, on the contrary, perhaps it did. The end of April and the beginning of May mark holiday season in this medieval hill town of fewer than 1800 inhabitants. The third weekend of the month and the weekdays that lead up to it mark the festival of the local saint, Saint Anselm of Bomarzo, the 25th also being the national holiday of the Liberation. The following weekend embraces May Day, the international celebration of the working man and woman, which needs no explanation. A young person asked me why we don’t celebrate this holiday in the United States, conjuring up old photos of the police and the National Guard in my mind.

Seven Ways to Improve the Tour de France

Cycling fans watch the opening time trial of Paris-Nice in Saint-Rémy-lès-Chevreuse, 3 March 2012. Photo © 2012 Alan Miller.

I wouldn’t go so far as the three-time world-champion Óscar Friere, who reckons that the Tour de France is “the most boring race of the year” — has he ever watched the Tour of Qatar? — but this year’s race did make me wonder how many more like it the old institution can take. Institutionalization is the Tour’s great burden, or at least its double-edged sword. For the casual fan it is the ‘race of record,’ cycling itself. Those who follow the sport more closely understand that while the Tour is undeniably the most competitive, and therefore the most prestigious, among the three Grand Tours of Italy, France and Spain, it often not the most interesting.

Food & Drink

Podcasts

Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting

Manfred Honeck. Photo Felix Broede.

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven’s First Piano Concerto with Inon Barnatan and Mahler’s First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner’s Fourth Symphony and looks forward to recording the Ninth.

In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers.

[powerpress]

Christina Kobb Talks to Michael Miller about Historical Keyboard Technique

Christina Kobb, Pianist

The Norwegian pianist and scholar Christina Kobb came to wider attention in the United States when a New York Times writer picked up an article in a Scandinavian science magazine about neurological research carried out on her to analyze her movements as she played an electronic keyboard using modern and nineteenth century technique, which she has researched in her dissertation.