Author Archive: Michael Miller

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.

Thomas Nickell, Piano, and The Orchestra of the Swan, David Curtis, Conductor, in an Original Program of Mozart, Messiaen, Nickell, Cowell, Britten, David Matthews, and Wagner/Liszt

Thomas Nickell, Pianist

At 18, Thomas Nickell, even in a world populated by numerous prodigies who began to play in public at very young ages, still deserves to be considered a young, emerging artist, and this concert showed him to be a notably mature and tasteful one.  He is currently a student at the New School, Mannes College of Music, studying piano and composition, both with equal seriousness. He has already played programs in concert and with orchestra in the United Kingdom, Italy, Japan, and Chicago, and has been honored as a Steinway artist and is represented by Alexander & Buono International. The concert, a repeat of his London debut, gave the full house something else to be grateful for: a visit from an outstanding British chamber orchestra—in this instance all strings—The Orchestra of the Swan, based in Stratford-upon-Avon, under the direction of its founder and music director, David Curtis, who is as enterprising and personable as he is musical.

Pianist Christina Kobb plays Schubert, Robert and Clara Schumann, Grieg, and Liszt in her Carnegie Hall Debut

Pianist Christina Kobb

I recently heard three piano programs, almost back-to-back, in Weill Hall. Each pianist produced a strikingly different sound from the same instrument, Weill’s beautiful house Steinway. The pianists and their programs were so very different that  it is not so very difficult to resist the temptation to discuss them in a single review, although there are some common threads, for example Romanticism and Schubert. In fact, you’ll find I’m writing rather a lot about those subjects at the moment.

Three Concerts at Camphill Ghent, two Past, one to Come

Off-season musical life is not as thin in the Hudson Valley as it is in the Berkshires, but, whatever the general situation, the Concerts at Camphill Ghent, founded and directed by pianist Gili Melamed-Lev, stand out for their exceptional quality, one month after another. As I have mentioned elsewhere, these concerts, which usually sell out weeks before the concert date, take place in the intimate performing arts hall of Camphill Ghent, a residential community for elders in Chatham, New York. This particular article will offer a preview of the upcoming March concert, which is actually based on an abbreviated version of the program the Lev-Evans Duo played at a house concert in Stockbridge last month, and reviews of two previous concerts at Camphill Ghent.

Martin McDonagh at his Beginnings and Today: The Beauty Queen of Leenane by Druid at BAM and Hangmen Projected.

Marie Mullen and Ailsing O'Sullivan in the Beauty Queen of Leenane by Druid at BAM.

I only managed to get to The Beauty Queen of Leenane on its very last day at BAM, a Sunday matinee—in fact Super Bowl Sunday. This momentous annual event seemed to have little effect on McDonagh fans, and BAM’s Harvey Theater was nearly full. The audience was of more than the usual interest, because, as the play took its course, many members of the audience seemed to know what was going to happen in advance. Only the special decorum of legitimate theater seemed to prevent some of them from calling out the lines ahead of the actors, as was the practice of denizens of the Brattle Theatre in Harvard Square at the Study Period screenings of Casablanca. These people had seen the show at the BAM run at least once before, and in many cases, I’m sure, back in the late 1990s, when it catapulted its author Martin McDonagh to fame and fortune. On the other hand, the audience was alive to the affecting events in the story, gasping or ahhing at unpleasant turns of events, as they unfolded.

Daniel Barenboim and the Staatskapelle Berlin in the First Complete Cycle of Bruckner’s Symphonies in the U.S., with Mozart Concertos for Piano, Winds, and Strings

Anton Bruckner

We New Yorkers are fortunate in enjoying annual visits from the greatest European and American orchestras, and even more fortunate when these visitors offer a residency or at least what some people like to call a “curated” series of concerts. In most instances these take place in Carnegie Hall. Beyond the privilege of hearing different groups under different conductors in the same familiar acoustic—fortunately one of the highest order—a more extended and coherent journey through the classical repertoire justifies the effort and expense of the tour. The brilliant 2010 series built around Beethoven and the Second Viennese School, played by the Vienna Philharmonic, with the podium shared by Pierre Boulez and Daniel Barenboim, stands out as a telling example.

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?”

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.

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.

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