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July 23rd, 2014
For its annual opera, Bard Summerscape has chosen Carl Maria von Weber's seldom performed masterpiece, Euryanthe. Der Freischütz had been a great success at the Kärtnerthortheater in Vienna at its p[...]
A Shakespeare Double-Bill at the American Ballet Theater: Ashton's The Dream and Ratmansky's The Tempest
July 22nd, 2014
by Mari Gold
American Ballet Theater Metropolitan Opera House June 30, 2014 The Dream Music by Felix Mendelssoh Choreography by Frederick Ashton Sets and Costumes by David Walker Lighting Design by John B. Read The Young People's Chorus of New[...]
John Banville talks to Michael Miller about Love in the Wars, his English adaptation of Kleist's Penthesilea
July 15th, 2014
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,[...]
July 8th, 2014
by Arts Press
Please give generously to support The Arts Press publications, New York Arts and The Berkshire Review! "I just spent about an hour browsing through your Berkshire Review and am staggered at its breadth and de[...]
July 7th, 2014
by Nancy Salz
Brigadoon at the Goodman Theatre, Chicago June 27-August 17, 2014 (extended) Music by Frederick Loewe Book and Lyrics by Alan Jay Lerner Revised Book by Brian Hill Directed and Choreographed by Rachel Rockwell Musical Direction and[...]
- Tanglewood Festival of Contemporary Music, 2014 — The Return of Harmony: works by Tanglewood Music Center AlumniIn the Twenty-First Century, a festival of contemporary music needs a point of focus. A broad or representative survey is impossible; there are simply too many wildly varied approaches to music-making out there than can be sampled even in a festival twice as long as the six-concert event this summer at Tanglewood. By choosing composers who have been fellowsLarry Wallach
- A Singer’s Notes 89: HIP Today and Gone Tomorrow — Sequentia at Tanglewood and NT’s Lear on ScreenHIP (Historically Informed Performance) is not so hip as it used to be. William Christie does Baroque opera with cutting edge directors. René Jacobs records a Matthew Passion with tempi that rival Furtwängler's. The information age was what made historically aware performances possible. It did not give us all the answers. In fifty years will we have HIPKeith Kibler
- A Singer’s Notes 88: Dreaming with BottomTony Simotes' location for Shakespeare and Company's A Midsummer Night's Dream was a voodoo-haunted New Orleans. The best part about his production was he gave it to us straight. The supernatural characters, Oberon and Titania, were clarified and humanized into something that almost approached matter-of-factness. This made me hear the play verKeith Kibler
- Stephen Sondheim’s A Little Night Music at the Berkshire Theatre GroupIt has been said that the sign of a good musical is when the audience leaves the theatre humming a tune from the show. Not so with Stephen Sondheim. His ability to dazzle us with his lyrics, his verbal brilliance and wit, causes us to ponder his lyrics on the way up the aisle and wonder how he pulls it all off. The post Stephen Sondheim’s A Little Night MusiNancy Salz