Berkshire Review

Vermeer’s Astronomer at the MFA

Johannes Vermeer (Delft 1632–1675), The Astronomer (1668), Oil on canvas, Paris, Musée du Louvre, Département des Peintures, Courtesy, Museum of Fine Arts, Boston.

The distinguished senior curator of European paintings at Boston’s Museum of Fine Arts, Ronni Baer, has put together a compelling and instructive exhibition of 17th-century Dutch art (mostly oil painting) that focusses on complex layers of social class (Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, through January 18; which then reopens on February 20 for three months at the Nelson-Atkins Museum in Kansas City, MO). There isn’t a painting in the show without interest, including a heaping handful of out-and-out masterpieces: early Rembrandt, Hals (in both intimate and heroic—or mock heroic—mode), Ruysdael (those bleaching fields near Haarlem under an enormous cloud-filled sky), de Hooch (that radiant courtyard; that dim geometrical interior), Ter Borch (those glittering satins; that velvety cow suspiciously eyeing a nearby axe), a Van Dyck, and a crisp, penetrating Thomas de Keyser portrait of the Dutch statesman, poet, and musician Constantijn Huygens, father of the scientist Christiaan Huygens, who discovered the rings of Saturn—a big discovery for me.

The Year that Was: Boston Classical Music in 2015

Andris Nelsons

The major news from Boston was the ascendancy of Andris Nelsons, firming up his place as music director of the Boston Symphony Orchestra, which included a quickly agreed upon three-year extension of his contract into the 2020-2021 season. This announcement was soon followed by the less happy surprise for Bostonians of Nelsons also accepting an offer from the eminent Leipzig Gewandhaus, the orchestra whose music director was once no less than Felix Mendelssohn, to take on that very position, beginning in the 2017-2018 season, thus dividing the loyalties of the young maestro (who just turned 37), though evidently with the possibility of collaborations between the two orchestras. (Remember when some people were complaining about James Levine dividing his time between the BSO and the Metropolitan Opera?)

“Made in the Americas: The New World Discovers Asia” August 18-February 15 at the Museum of Fine Arts, Boston

Dennis Carr discusses the portrait of Maria de los Dolores Juliana Rita Nunez de Villavicencio. Photo Virginia Raguin.

There have been a number of excellent reviews of this exhibit, especially Holland Cotter’s early piece of August 27 in The New York Times. We still have several months to profit from “Made in the Americas.” My comments are prompted by my deep gratitude as a non-specialist for an exhibition that reinforces a new paradigm of art historical and critical thinking, even as it continues a tradition of a major museum able to bring an eye-popping collection of exquisite works heretofore not seen together. Dennis Carr has formed an intellectually rich exploration of global communication vital to the early modern era. Via a wide display of different media—textiles, furniture, metalwork, painting, ceramics, and inlay—we explore the relationship among the cultures of the Americas as the crossroads of Europe and Asia in the seventeenth and eighteenth centuries.

Bard Music Festival 2015: Carlos Chávez and his World, Weekend I

David Alfaro Siqueiros, Retrato del maestro Carlos Chávez, oil on canvas, 1948

As the Bard Music Festival has sailed through the great names in European and American music over the past twenty-five years—although there are some people who don’t like Elgar, Liszt, or Wagner, and some who doubt Saint-Saëns’ or Sibelius’ importance (if they attended the Festival they left with their minds changed)—the focal points of the festival have been generally unchallenged. This year, with Carlos Chávez, the first composer from south of the border, there has been more debate. Many attendees—and especially non-attendees—questioned the worthiness of Carlos Chávez as a subject. He is largely forgotten, and many of those who do remember him, do not think of him kindly. Even Leon Botstein himself expressed a critical attitude towards Chávez,

From Summer Opera…an Answer to the Opera Houses’ Predicament?

Euryanthe From left, Peter Volpe, Ryan Kuster, William Burden and Ellie Dehn, at Bard SummerScape . Photo Cory Weaver.

Permit me to indulge in a one-sided argument…or a rant, as I believe it’s called in the blogging world—which is not ours at New York Arts and The Berkshire Review!

Opera in the United States is particularly unsettled at the moment, if not in trouble. Both audiences and sources of funding are on a downward curve, although the better-managed companies seem to be coping. The biggest beast of all, The Metropolitan Opera, compromised by the bad judgement of its General Director, Peter Gelb, is the most worrisome of all.

Tanglewood in Wonderland: The 2015 Tanglewood Festival of Contemporary Music

Jonathan Berman Conducts, Photo Hilary Scott.

This year’s Festival of Contemporary Music at Tanglewood was celebrating the 75th anniversary of the founding, by legendary BSO Music Director Serge Koussevitzky, of the Tanglewood Music Center, one of the great arts educational projects in this country and still going strong. Curated by composers and Tanglewood gurus John Harbison, Michael Gandolfi, and Oliver Knussen (who couldn’t attend or conduct as scheduled because of a visa problem), it was on the whole one of the livelier festivals—more focused if not quite as eclectic.

Summer Operas: Opposite Poles at Bard SummerScape and Boston Midsummer Opera

Neal Cooper (Mark) in the Bard SummerScape production of Ethel Smyth’s 'The Wreckers.' Photo by Cory Weaver.

If I were one of those opera aficionados who thrives on adding unusual operas to a list, I’d be in heaven. I saw two opera productions this summer — not by Puccini, Verdi, Wagner, or Mozart, but by Friedrich von Flotow and Edith Smyth — and I’d never seen either of them before. One of them was typical summer entertainment, a light and charming comedy, in a modest, stripped down production; the other just the opposite — a grim tragedy that looked as if a lot of money had been thrown at it.

The Bard Music Festival 2015: Carlos Chávez and His World, a Preview

Carlos Chávez by Manuel Álvarez Bravo, ca, 1930-40. © Colette Urbajtel/Archivo Manuel Álvarez Bravo

This is the first Bard Music Festival, Carlos Chávez and his World, to be devoted to music from south of the border. Up here, Central and South Americans were much more prominent in the classical music world in Chávez’s time (1899-1978) than they are in the present. Today most concert-goers see this music through the window of Gustavo Dudamel and all his good works, and El Sistéma from which he emerged, is all the rage among music educators, possibly destined to become something like a Suzuki method of the twenty-first century.

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.