New York Arts in the Berkshires

Aston Magna Music Festival 2017 – A Preview

Hector Del Curto, bandoneonista

The Aston Magna season, the 45th(!), is almost upon us. We can look forward to an extended schedule, adding fifth and sixth weekends at the Brandeis and Great Barrington venues, which is no longer on the Simon’s Rock campus, but at the recently renovated Saint James Place.

Tracy Letts’ August: Osage County at Williams, directed by Omar Sangare

Johnna (Gabrielle Amos-Grosser) talks with Bev (TL Guest) and Violet (Evelyn Mahon).

Every spring for some years now the brilliant Polish actor-director-playwright-poet Omar Sangare has created extraordinary productions at the ‘62 Center for the Performing Arts with his acting students at Williams College, and they keep on getting better. All of them have been highly unusual. There was a double-cast A Streetcar Named Desire: by that I mean that it was performed by two separate casts almost, but not quite simultaneously. Far from an weird distraction, the device emphasized the universality of the play…and gave the many interested student actors a chance to perform. There was Gombrowicz’s classic proto-absurdist farce, Princess Iwona, which was also performed on Broadway.

Frank Salomon talks to Michael Miller about the upcoming seasons for Musicians from Marlboro, the People’s Symphony Concerts, the Schneider Concerts, and more

Frank Salomon with the poster of the first Music from Marlboro series. Photo 2015 Michael Miller.

  Listen to the interview: This was yet another splendid summer at Marlboro. For sixty-four years now, first under the direction of Rudolf Serkin, then under Richard Goode and Mitsuko Uchida, now under Mitsuko Uchida alone, Marlboro has provided a…
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Monteverdi’s Vespers of 1610 and L’Orfeo by BEMF at Jordan Hall

Marco Bussi (Shepherd), Aaron Sheehan (Orfeo), and Nathan Medley (Shepherd). Photos Kathy Wittman.

The recent biennial weeklong Boston Early Music Festival (June 14-21) drew unusual attention for presenting full stagings of all three of Monteverdi’s surviving operas (OrfeoThe Return of UlyssesThe Coronation of Poppea) plus the Vespers of 1610. This in addition to the Festival’s usual 9 a.m. to midnight concerts of a great variety of music from the Middle Ages to Bach, featuring noted performers from all over the world. Enthusiasm ran high all week and audiences were large, especially for the Monteverdi events.

Excitement at the Boston Symphony—Lots of It! But Questions Remain

Christian Tetzlaff with the BSO and Andris Nelsons. Photo Liza Voll.

The perfect word to describe Andris Nelsons’ conducting is “exciting.” He elicits spectacular playing from the Boston Symphony and knows how to mold the sound of the orchestra to his taste. The strings now sound rich, deep, and solid rather than airy, transparent and elegant, as was their traditional, French–flavored style. This works well in a German-Russian program; I am curious to hear what they (Nelsons and the orchestra) will do with canonical French material such as the orchestral works of​ Ravel.

2015 Glimmerglass Preview: Verdi, Vivaldi, Mozart and Bernstein, April 19, Germantown, New York

Glimmerglass Opera Festival. Photo 2010 Karli Cadell.

Lucking into one of the first few nice days of a late spring, I attended the annual Glimmerglass Festival kickoff, hosted at Midwood, the secluded Germantown home of philanthropist Joan K. Davidson. This beautiful Sunday afternoon offered the enticements of the summer opera fare in Cooperstown along with hors d’oeuvres and wine. Francesca Zambello, the transformational Artistic & General Director of the Glimmerglass Festival, invited several young artists, veteran performers, and composers to further the cause.

The Winter of Our Discontent: Classical Music in Boston 

Andris Nelsons

As everyone in New England knows, this winter was one long slog. But significant musical events actually got to take place, and some of these have been exceptional. But many have been frustrating and disappointing.

Andris Nelsons in Boston…with Two Superb Concerts under the BSO’s New Assistant Conductor, Ken-David Masur, and an Appreciation of James Levine

Cellist Gautier Capucon, BSO principal violist Steven Ansell, and Andris Nelsons take their bows following their performance of Strauss's Don Quixote. Photo Michael Blanchard.

Andris Nelsons has garnered a lot of attention during his first season as Music Director of the Boston Symphony Orchestra—much coverage in the local and even national press; receptions for the public and an exhibition with a talking hologram at Symphony Hall; placards on buses around Boston and in the subway. He threw out a ball for the Boston Red Sox at Fenway Park. The BSO organization wants him talked about by the man and woman on the street—especially the younger set. It remains to be seen whether a new younger audience will be drawn to the BSO. Eventually, it’s the music that will matter, not publicity.

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