It didn’t take long for Picholine, after it opened in October 1993, to acquire the reputation and aura of an institution. Its original decor included old master paintings and tapestries or reasonable facsimiles of them, chandeliers, and heavy moldings—which made it look as if it had been there forever. While this interior may have conjured up some idea of a Provençal estate, the region is now present primarily in the subtle color scheme of the fabric-covered walls, which recall the variegated tints of the picholine olive: purple, grey, boysenberry and so forth. Chef/proprietor Terrence Brennan had the rooms entirely redecorated in 2006, producing a quieter, simpler, darker interior, which also looks as if it had been there forever, but also looks thoroughly fresh and up-to-date.
Uncle Vanya by Anton Chekhov Translated by Carol Rocamora Directed by Austin Pendleton Classic Stage Company, New York, January 17, 2009—March 8, 2009 Marina – Cyrilla Baer Astrov – Peter Sarsgaard Vanya – Denis O’Hare Serebryakov – George Morfogen Telegin…
For most of its history music criticism has been almost as fleeting as music itself. If a person, for whatever odd reason, wanted to read a review of some past concert, it would have been necessary to consult a newspaper archive in a library, hardly a Herculean task, but an effort in comparison to the instantly-available databases we’ve become accustomed to in recent years. And, now that print journalism seems to be dying out, and publications like our own Berkshire Review for the Arts maintain permanent access to all published articles (and there is a readership for some of them long after the event they record) it is easier than ever.
Click here for complete repertory and cast listing. As the 2008-09 Met Season progresses, I am struck by how often I have been tempted to resort to superlatives. In October Don Giovanni and Salome were truly extraordinary performances. I was reluctant to say it…
Men in tights, dancing on point, corsets squeezing not-so-tiny waists, savoring their moments as heroes, and yes, heroines—an oxymoron, a cross-dressing incarnation of Robin Hood, a Chelsea nightclub dream-come-true, or simply a fantasy? Would you buy all four.
Lucy Vivante details the processes involved in the making of olive oil in Bomarzo, a small town in northern Lazio.
Metropolitan Opera, January 30, 2009 The Metropolitan Opera Orchestra, Jirí Belohlávek conductor Eugene Onegin – Thomas Hampson Tatiana – Karita Mattila Lensky – Piotr Beczala Olga – Ekaterina Semenchuk Prince Gremin – Sergei Aleksashkin Larina – Wendy White Filippyevna –…
Leon Botstein attracted an impressive crowd to Avery Fisher Hall on the afternoon of Sunday, January 25, to hear him conduct the ASO in a program of extremely obscure music: orchestral works from “the other Germany,” that is the German Democratic Republic (1949-1990), or East Germany. It is most unjust that this music is as neglected as it is today, since every work on the program was soundly constructed and interesting, even astonishing at times. All were worth a second or a third hearing, or even more. Fortunately most of the works on the program are available on CD.