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.

Meet the Key Pianists Concert Series with a Memorable Recital by its Founder and Director, Terry Eder

I’d like to harken back to another recent piano recital in Weill Hall, in which its fine Steinway was brought into a sound world quite different from those of Christina Kobb and Thomas Nickell, whom I heard play shortly before the artist in question—Terry Eder, a New York pianist who specializes in Hungarian piano music, beginning with Liszt, and including Dohnányi, Bartók, and Kodály.

Kino!2017, a Festival of German Cinema at the Sunshine, Closes on April 6

Lilith Stangenberg in Wild.

For its fourth season as an independent festival, Kino!2017, has moved to everyone’s favorite art house, the Sunshine Cinema, as congenial a venue as possible for the screenings and the inevitable lively discussion around them. Curated by New York film professionals—distributor Meghan Wurtz, journalist Karl Rozemeyer and festival consultant Marian Masone, Kino!2017 presents twelve feature-length films, including one North American premiere, five US premieres, four East coast premieres and two New York premieres, plus the Next Generation Short Tiger 2016 selection.

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?”

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.