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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.
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The Latest on New York Arts

Judith & Vinegar Tom, a Double Bill by PTC/NYC (Potomac Theater Project); through August 9

July 30th, 2015

by: Mari S. Gold

Judith: A Parting from the Body by Howard Barker, is based loosely on the Biblical tale of this woman's heroism as depicted by artists through the ages including Artemesia Gentileschi, Botticelli, Lucas Cranach the Elder and Gustav Klimt. In Barker's rendition, Judith, played by Pamela J. Gray, comes to the tent [...]

The San Francisco Symphony Youth Orchestra at Davies Hall gets ready for its European tour

July 22nd, 2015

by: Steven Kruger

I had the good fortune of catching the San Francisco Symphony Youth Orchestra by the tail last month, just as they set out on their tenth European tour. The orchestra has been wowing audiences at the Philharmonie, the Concertgebouw and the Mariinski ever since 1986. I suspect they will make[...]

Jeannette Sorrell, Music Director of Apollo's Fire: The Cleveland Baroque Orchestra, talks to Michael Miller

July 9th, 2015

by: Michael Miller

Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm,[...]

Emmanuel Music, with Andrew Rangell, Piano, at the Rockport Chamber Music Festival

July 3rd, 2015

by: Charles Warren

It is always a pleasure to be in the Cape Ann harbor town of Rockport and to attend musical events in the beautiful Shalin Liu recital hall with its glass wall looking out to sea. The June 26th concert provided a striking contrast in styles of Baroque era music, with[...]

Opera Boom: Lots of opera in Boston, but how much was really good?

July 2nd, 2015

by: Lloyd Schwartz

I need more than two hands to count the number of operas I’ve attended in Boston so far this year. Two productions by the Boston Lyric Opera, our leading company; nine (four fully staged) by our newest company, Odyssey Opera; a brilliant concert version by the BSO of Szymanowski’s disturbing and mesmerizing King Roger;[...]

Alvin Ailey American Dance Theater at Lincoln Center, June 14, 2015

June 28th, 2015

by: Mari S. Gold

The evening's first piece, “Toccata,” is part of a longer work, Come and Get the Beauty of it Hot, created by Talley Beatty in the 1960s. The dance is  described as “set in the streets of New York” and has a jazzy feel that reminded me of West Side Story although with a more classic look[...]

Charles Dutoit conducts The San Francisco Symphony in Stravinsky, Elgar, and Mussorgsky/Ravel, with Gautier Capuçon, Cello

June 28th, 2015

by: Steven Kruger

It's hard to recall a time when Stravinsky's music carried with it the suggestion of impossible modernism. But it did—once. The appearance of Petrouchka on TV in 1960 made the viewer feel quite daring, I remember. It was "dissonant.” And the Rite of Spring, with all those purpose-led insect lives and braying jurassic fossils was just pla[...]

Monteverdi's Vespers of 1610 and L'Orfeo by BEMF at Jordan Hall

June 27th, 2015

by: Charles Warren

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 (Orfeo, The Return of Ulysses, The 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 variet[...]

New Chamber Ballet, Miro Magloire, Artistic Director, Choreographer, at the City Center, Studio 5

June 20th, 2015

by: Mari S. Gold

The modest setting: a large practice studio at City Center with the room's reversed big-bowl chandeliers providing  the "lighting;" the audience on folding, metal chairs. German-born Miro Magloire was everywhere at once; welcoming the audience, providing background before each of the six offerings and repositioning the grand piano and music [...]

Introducing Weiyin Chen, who will play Bartók, Marc Neikrug, and Schubert at SubCulture on June 13

June 6th, 2015

by: Michael Miller

Last January I heard part of quite a thrilling chamber concert at SubCulture. The Mirò Quartet, which I have reviewed favorably in the past, excelled themselves in an all-Brahms concert with a young Taiwanese-American pianist I had not heard before, Weiyin Chen. Her playing showed maturity, a deep identification with  the mu[...]

Michael Tilson Thomas Leads the San Francisco Symphony in Leonard Bernstein's "Age of Anxiety" Symphony and Mahler's Fourth

May 23rd, 2015

by: Steven Kruger

There is a sound you sometimes feel after midnight, high up in Manhattan. It comes from maybe thirty blocks away. Very faint. In the stillness of your mind, you know it is a lonely taxi horn dancing with the doppler effect. But in the small hours of the city, you wonder who m[...]

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

May 18th, 2015

by: Larry Wallach

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. [...]

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

May 17th, 2015

by: Seth Lachterman

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[...]

The King and I in Revival at the Vivian Beaumont Theatre, Lincoln Center

May 16th, 2015

by: Nancy Salz

Is a puzzlement – why Barlett Sher and Michael Yeargan, the Tony award winning director and set designer of South Pacific, respectively, would create such a sparse scenic design for The King and I. The stage of the Vivian Beaumont Theatre is over 3,500 square feet – and much of the time (in the pa[...]

Vasily Petrenko Conducts the San Francisco Symphony in Barber, Rachmaninoff, and Shostakovich, with Sa Chen, Piano

May 16th, 2015

by: Steven Kruger

Concerts this good have become our norm and good fortune in twenty-first century America—especially in San Francisco. We are used to charismatic conducting, to fine piano debuts, to engaged orchestral playing and the rediscovery of great neglected symphonies. What differs from time to time is the realization that a performer m[...]

Euripides' Ion in Ancient Greek, by the Barnard Columbia Ancient Drama Group

May 11th, 2015

by: Michael Miller

Even if the performances of the Barnard Columbia Ancient Drama Group were half as good as they are, we'd have to be grateful to them for even attempting to perfom ancient theater in the original language as something more than an academic exercise. For quite a few years now, the[...]

Fun Home at Circle in the Square Following a Long Run at The Public Theatre

May 6th, 2015

by: Nancy Salz

It’s not what you would expect of a Broadway musical. No dancing-singing chorus. No chorus, actually, and barely any real dancing. But singing? Oh yes. Wonderful singing that projects Alison Bechdel’s story with moving honesty, deep-felt emotion and palpable joy. We alternate among three stages of Alison’s life, her pre-teen years[...]

The Winter of Our Discontent: Classical Music in Boston 

May 5th, 2015

by: Lloyd Schwartz

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.[...]

Ballet to Broadway: Christopher Wheeldon with Rita Moreno

May 5th, 2015

by: Mari S. Gold

The evening as billed suggested that Mr. Wheeldon would be the center of attention which, given the raves for American in Paris on Broadway, was understandable. Unassuming and polite, Wheeldon spoke of his family's love of all things theatrical and about their taking him, quite young, to a Gershwin concert which he w[...]

Finding Neverland —a New Musical at the Lunt-Fontanne Theatre

April 28th, 2015

by: Nancy Salz

How much Peter Pan is too much Peter Pan?  We’ve been inundated for decades. The Mary Martin  Peter Pan was later followed by Cathy Rigby in the same show. Then came Peter and The Starcatcher, “a grown-up’s prequel to Peter Pan.” This past holiday season Peter Pan was performed live on television. Somewhere in there was the movie of Finding Neverl[...]

Ballet Hispanico at the Joyce Theater

April 25th, 2015

by: Mari S. Gold

his program, divided into three sections, showed the company in very different lights. Up first, Show. Girl, with choreography by Rosie Herrera, costumes by Diana Ruettiger and lighting by Joshua Preston, uses the "Cuban cabaret ethic" to put forth dances that don't have much relationship to each other. Show. Girl opens with a[...]

A Musical Version of Doctor Zhivago at the Broadway Theatre

April 25th, 2015

by: Nancy Salz

It begins with a funeral. It ends with a funeral. In between are jarring gun shots, explosions, fire, war, revolution, murder, suicide, blood, death—and everywhere passion, passion for a loved one, passion for a cause, passion for a home. The story of Doctor Zhivago, adapted from the movie based on the no[...]

Something Rotten at the St. James Theatre

April 23rd, 2015

by: Nancy Salz

You’ll get a kick out of Something Rotten if you brush up your Shakespeare once you decide whether you want to be or not to be in attendance. If you get what’s going on in the previous sentences, then Something Rotten may be a show for you. It is packed with inside jokes — Shakespea[...]

A new Golden Age Broadway musical — An American in Paris at the Palace Theatre

April 13th, 2015

by: Nancy Salz

It could have been created during the Golden Age of Broadway, so seamlessly integrated is the extraordinary, ballet-driven musical An American in Paris. The George Gershwin and Ira Gershwin score would have been enough by itself. Add to that the dancing, singing, acting, lighting, costumes and scenery (which seems to dance [...]

No-Win Productions presents the World Premiere of Georg Büchner’s Woyzeck, FJF, at the New Ohio Theater, February 28 - March 21 (closed)

March 31st, 2015

by: Michael Miller

Georg Büchner, in Germany, is considered one of the nation's greatest writers, and their most prestigious literary prize is named after him. However, productions of his plays are rare in this country, most likely to be found on university and college campuses—even during the bicentenary of his birth in 2013. Th[...]

New York City Opera Renaissance Gala Tribute to the Late Julius Rudel and Fundraiser

March 29th, 2015

by: Michael Miller

The demise of New York's beloved City Opera seemed sudden and bizarre—and so painful to opera lovers in the City, that many lost sight of what a long process it was. The board's bad decisions went back around a decade. The company's deficits climbed, and its endowment was repeatedly raided. T[...]

Michael Tilson Thomas conducts The London Symphony Orchestra in Colin Matthews, Gershwin (with Yuja Wang), and Shostakovich

March 29th, 2015

by: Steven Kruger

If you feel pursued by good luck, do we call it paranoia? This is the question I must answer lately, since it seems the London Symphony has chased me down in San Francisco—to my great delight! Just a month ago, I had the good fortune of hearing Sir Mark Elder lead t[...]

Before Bach: Late Renaissance and Early Baroque Music at Carnegie Hall — a Month-Long Series in April and May

March 25th, 2015

by: Michael Miller

For years, New York City seemed to have missed out on the extraordinary efflorescence of research, study, and practice, which has made historically informed performance such an essential part of music-making in the late 20th and early 21st centuries. The early music scene was hardly non-existent, but it was thin[...]

Paul Taylor's American Modern Dance

March 24th, 2015

by: Mari S. Gold

Although the three works, Rite of Spring, Company B and Piazzolla Caldera that made up the evening are very different in style and tone, they are equally compelling.[...]

Stephen Porter plays Debussy's Preludes, Books I and II at SubCulture, New York

March 20th, 2015

by: Michael Miller

One can't say that performances of both books of Debussy's Preludes are absolutely unheard of, but they are sufficiently uncommon for Stephen Porter to deserve our admiration for his courage and enlightenment in offering them in the form he did. Not only did he perform both books in their entirety from memory, h[...]


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The Editor

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts, an International Journal for the Arts and The Berkshire Review, 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 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.

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.