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Meet the Key Pianists Concert Series with a Memorable Recital by its Founder and Director, Terry Eder

I’d like to harken back to another recent piano recital in Weill Hall, in which its fine Steinway was brought into a sound world quite different from those of Christina Kobb and Thomas Nickell, whom I heard play shortly before the artist in question—Terry Eder, a New York pianist who specializes in Hungarian piano music, beginning with Liszt, and including Dohnányi, Bartók, and Kodály.

A Crop of Recordings XIV: Richard Strauss, Bruckner, Brahms, and Wagner

Richard Strauss Conducting

Here is a really lovely performance of Ein Heldenleben, perfectly recorded in Frankfurt’s Alte Oper. From the very first note—that rich ocean-liner steam whistle signifying a voyage through life—it’s satisfying—if, that it is—you like things a bit understated. You are sitting about row “K,” and the orchestra is laid out before you at a slight distance. Listeners familiar with the many videos of this orchestra on YouTube will not be disappointed at the fine balances and purring nature of the sound. This is a satiny, swift reading, gently beautiful, supple and romantic in an undemonstrative way. It reminds me of Reiner’s and Kempe’s versions, both of which bring the piece home similarly at around 45 minutes.

Kino!2017, a Festival of German Cinema at the Sunshine, Closes on April 6

Lilith Stangenberg in Wild.

For its fourth season as an independent festival, Kino!2017, has moved to everyone’s favorite art house, the Sunshine Cinema, as congenial a venue as possible for the screenings and the inevitable lively discussion around them. Curated by New York film professionals—distributor Meghan Wurtz, journalist Karl Rozemeyer and festival consultant Marian Masone, Kino!2017 presents twelve feature-length films, including one North American premiere, five US premieres, four East coast premieres and two New York premieres, plus the Next Generation Short Tiger 2016 selection.

Thomas Nickell, Piano, and The Orchestra of the Swan, David Curtis, Conductor, in an Original Program of Mozart, Messiaen, Nickell, Cowell, Britten, David Matthews, and Wagner/Liszt

Thomas Nickell, Pianist

At 18, Thomas Nickell, even in a world populated by numerous prodigies who began to play in public at very young ages, still deserves to be considered a young, emerging artist, and this concert showed him to be a notably mature and tasteful one.  He is currently a student at the New School, Mannes College of Music, studying piano and composition, both with equal seriousness. He has already played programs in concert and with orchestra in the United Kingdom, Italy, Japan, and Chicago, and has been honored as a Steinway artist and is represented by Alexander & Buono International. The concert, a repeat of his London debut, gave the full house something else to be grateful for: a visit from an outstanding British chamber orchestra—in this instance all strings—The Orchestra of the Swan, based in Stratford-upon-Avon, under the direction of its founder and music director, David Curtis, who is as enterprising and personable as he is musical.

Pianist Christina Kobb plays Schubert, Robert and Clara Schumann, Grieg, and Liszt in her Carnegie Hall Debut

Pianist Christina Kobb

I recently heard three piano programs, almost back-to-back, in Weill Hall. Each pianist produced a strikingly different sound from the same instrument, Weill’s beautiful house Steinway. The pianists and their programs were so very different that  it is not so very difficult to resist the temptation to discuss them in a single review, although there are some common threads, for example Romanticism and Schubert. In fact, you’ll find I’m writing rather a lot about those subjects at the moment.

Mind AND Matter: Sam & Dede, or My Dinner with André the Giant at 59 E 59

Brendan Averett as Andre the Giant and Dave Sikula as Samuel Beckett in Sam & Dede, or my Dinner with Andre the Giant at 59E59 Theaters. Photo Jay Yamada.

True story: Irish writer Samuel Beckett, who lived most of his life in France, met and befriended the son of a neighbor, a very large young man known as Andre the Giant. Beckett drove Andre, called Dede, to school in his truck because Dede’s huge size made riding the regular school bus impossible. During the drives together, Beckett and Andre spent a lot of their time talking about cricket.

Emmanuel Villaume leads the Prague Philharmonia in Smetana and Dvořák, with Gautier Capuçon, cello

Emmanuel Villaume and the Prague Philharmonia

must have been in a Fantasia mood for this program—funnybone at the ready. There was something cartoon-friendly about the array on stage Sunday afternoon—an orchestra half the usual size—an enormously tall conductor in black maitre d’ tails with a huge bald head, black goatee and a tiny baton—a remarkably small cellist by his side. Were we about to hear a concert in caricature by the Katzenjammer Kids? It would seem so. My bad!

Three Concerts at Camphill Ghent, two Past, one to Come

Off-season musical life is not as thin in the Hudson Valley as it is in the Berkshires, but, whatever the general situation, the Concerts at Camphill Ghent, founded and directed by pianist Gili Melamed-Lev, stand out for their exceptional quality, one month after another. As I have mentioned elsewhere, these concerts, which usually sell out weeks before the concert date, take place in the intimate performing arts hall of Camphill Ghent, a residential community for elders in Chatham, New York. This particular article will offer a preview of the upcoming March concert, which is actually based on an abbreviated version of the program the Lev-Evans Duo played at a house concert in Stockbridge last month, and reviews of two previous concerts at Camphill Ghent.

Art

The Berlin Painter and His World: Athenian Vase-Painting in the Early Fifth Century B.C. at The Princeton University Art Museum, closing Sunday, June 11, 2017 (REVISED)

Attributed to the Berlin Painter, Greek, Attic, fl. ca. 500-ca. 460 B.C. Red figure Neck-Amphora with Twisted Handles, ca. 480 B.C. Satyr Running with Wineskin. Staatliche Antikensammlungen und Glyptothek München (Inv. 8766)

Of all the exhibitions in the New York area this season, Princeton’s The Berlin Painter and His World is the richest in aesthetic pleasure, methodological sophistication, and intellectual liveliness. Not only will visitors enjoy the handwork of one of the greatest Greek artists of the Late Archaic Period, they will experience a panorama of ancient Greek mythology, religious practice, athletic and military activities, and sympotic customs, that is, the etiquette and enjoyment of the all-male drinking parties that were the major nucleus of Athenian social life after the great annually-recurring festivals of their gods and heroes. These windows which provide such a vivid view on the outer and inner lives of the Athenians were painted on the surfaces of pottery turned with the beautiful red clay of Attica…

The Museum Workout, Monica Bill Barnes & Company, at the Metropolitan Museum of Art

Monica Bill Barnes troupe exercised their way through the Met's armor court, the author front and center.

I saw Monica Bill Barnes & Company a few years ago when the troupe performed Three Acts, Two Dancers, One Radio Host which I found very entertaining. This experience was just as engaging but in a very different way. About fifteen women gathered before the museum opened and were ushered to the Education Area to put away coats and anything else we’d brought. We were told to wait “and stretch if you like.” After a brief introduction from Robbie Saenz de Viteri, the company’s Creative Producing Director, we were led to the foot of the great stairs where Monica Bill Barnes and her longtime dance partner, Anna Bass, both in sequined gowns and sneakers, greeted us.

Music

David Curtis, Music Director of the Orchestra of the Swan, talks to Michael Miller

ome months ago New Yorkers enjoyed an opportunity to hear a gifted young American pianist, Thomas Nickell play Mozart’s Concerto in A Major, K. 414 and a new concerto by a living English composer, David Matthews, supported by a splendid chamber orchestra in the best English tradition, The Orchestra of the Swan, based in Stratford-upon-Avon, conducted by its founder, David Curtis. They received an especially warm response from their sold-out hall, and they have every reason to come back. This will occur in early June 2018. Meanwhile you can listen to David Curtis talk about chamber orchestras, The Orchestra of the Swan in particular, and English music, which, I believe has been rather neglected on these shores in recent years.

Elgar’s The Apostles, with Leon Botstein and the American Symphony Orchestra at Carnegie Hall

The Ascension by Bell & Beckham. Tiles. All Saints Church, Margaret Street, London. Photo John Pankhurst.

I was tempted to preface this review of this rarely performed oratorio by Sir Edward Elgar with a harangue about the neglect of British music in this country, but I was pleasantly surprised to look over the upcoming Tanglewood schedule, and to find that British music and Sir Edward will be rather well served this summer

Theater

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.

The Ensemble for the Romantic Century presents The Dreyfus Affair at BAM

The Dreyfus Affair, Ensemble

The Dreyfus Affair feels very appropriate in today’s xenophobic, anxious times. Combining live orchestral music, singing, spoken word, projections and elaborate period costumes , the production relates the chilling story of Captain Alfred Dreyfus, a decorated French Jewish officer, who was falsely accused of high treason, arrested, speedily tried, convicted and imprisoned on the hell-hole of Devil’s Island. Written by Eve Wolf and directed by Donald T. Sanders, this multi-media production illuminates the 1894 events that had a decades-long reverberation in the political landscape of France and the rest of the world and still reverberates.

Opera

Félicien David’s Herculanum at the Wexford Festival: Opera Grand and Melodious

Émile Pierre Metzmacher. Portrait of Félicien David, 1858.

Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. Reviewers of the recording, including New York Arts contributor Ralph P. Locke, were struck by the melodic richness of the music, the keenly characterized solo roles, and the imaginative use of orchestra and chorus. Reviewers of the Wexford production were more muted, though perhaps the low-budget and curiously updated production had something to do with that. Locke, who is a professor emeritus of musicology at the Eastman School of Music, contributed an essay to the WFO’s program book that gives a sense of this fascinating work. We reprint it here with the festival’s kind permission.

2016 in retrospect — The Bard Music Festival: Giacomo Puccini and his World

Giacomo Puccini. © Frank C. Bangs, Library of Congress.

If advance gossip is any indicator, this year’s Bard Festival, devoted to Giacomo Puccini and his World, was one of the most controversial. “Puccini! Controversial!” You say, “There’s not really enough in him to have a controversy about, is there? Those sappy tear-jerkers speak for themselves.” In fact there was a lot of grumbling. Some festival regulars stayed away, or dragged themselves to only one concert, the one that included pieces by Dallapiccola, Pizzetti, and Petrassi. Even with these absentees the Festival sold out, or came close to selling out. Most of the concerts and the panel discussions were packed.

Dance

Legacy 36 Celebrates the Stars—A Line of Former Rockettes

Legacy Dancers Performing New York, New York

The famed Radio City Music Hall Rockettes, that high-kicking, glam- or- bust line of tap dancing women, began in St. Louis as the Missouri Rockets. The troop was brought to New York City to perform at the Roxy Theater where they were known as the Roxyettes and then, as part of the Christmas spectacular, came to Radio City, where they were rechristened The Rockettes.

Limón Dance Company, Joyce Theater, May 2, 2017

The José Limón Dance Company in Concerto Grosso

This program combines the contemporary with the classics in the first Joyce season under the Company’s new artistic director, Colin Connor.

The final work of the altogether gripping evening was made in 2016 with choreography by Kate Ware. Night Light is partly set to the Passacaglia for unaccompanied violin from Biber’s “The Rosary” Sonata and partly to “A Song for Mick Kelly.” The athletic dancers, some of the women wearing what closely resembled black two-piece ‘bathing suits;’ the rest of the group in flowing dark and royal blue tops, weave and leap, almost fighting one another. The work is powerful and haunting. The other 2016 dance, Corvidae, choreographed by Mr. Connor, turns the dancers into Corvids, i.e., crows and ravens, who have been seen throughout the ages as messengers. The dark lighting and black costumes gave the six dancers an edge of menace further expressed by darting, flicking movements.

Literature

The 36th Bloomsday at Symphony Space, 2017

James Joyce, circa 1922

The thirty-sixth celebration of Bloomsday at Symphony Space, originally conceived by SS ‘s late founder, Isaiah Sheffer, was a fitting tribute to Ulysses and its author, James Joyce. With a projection of Joyce’s face looking down on either side of the stage, the audience reveled in panel discussions; music including a beautiful rendition of Love’s Old Sweet Song, as discussed by Molly Bloom in the book and a “Whirlwind Tour through all 18 Episodes.” This Joyce fest offered something for even the most die-hard fan.

riverrun runs wild in Brooklyn, with performance artist Olwen Fouéré

Olwen Fouéré in riverrun at BAM. Photo Rebecca Greenfield.

You’ve doubtless read somewhere or another or heard someone say that our relationship to novels is much like our relationships to people (our relationships to their authors, living and dead, are a whole other thing). That may sound trite, but it has its degree of truth. In no case is it so true as in the case of Finnegan’s Wake. In most cases James Joyce’s last novel is like some celebrity academic, who jets constantly between, say, Paris and Berkeley, but never crosses our path. Others may have approached the great man at the podium after a lecture and tried to ask a private question, only to be

About NYC

Cinema

Silver Stream – Short Film: Grace Kiley – Writer, Director & Actor – Kickstarter Campaign ends on May 22!

Diagnosed with a progressive illness at the time of her daughter’s birth, Anna made the decision to give her daughter, Una, up for adoption when she was just 2 weeks old. Twenty-seven years later, Anna feels compelled to contact Una in order to pass on her inheritance, “some good and some not so good.”  Anna’s illness has begun to affect her daily function. She assumes her daughter was raised by the privileged family who adopted her, but soon discovers a very different story.

Kino!2017, a Festival of German Cinema at the Sunshine, Closes on April 6

Lilith Stangenberg in Wild.

For its fourth season as an independent festival, Kino!2017, has moved to everyone’s favorite art house, the Sunshine Cinema, as congenial a venue as possible for the screenings and the inevitable lively discussion around them. Curated by New York film professionals—distributor Meghan Wurtz, journalist Karl Rozemeyer and festival consultant Marian Masone, Kino!2017 presents twelve feature-length films, including one North American premiere, five US premieres, four East coast premieres and two New York premieres, plus the Next Generation Short Tiger 2016 selection.

Places

Bomarzo tra il Santo Biscotto e la Fava Marxista: La Festa di Sant’Anselmo (April 23-25, 2014)

Il biscotto di Sant'Anselmo

My days in Bomarzo in 2009 did not show the town at its most industrious…or, on the contrary, perhaps it did. The end of April and the beginning of May mark holiday season in this medieval hill town of fewer than 1800 inhabitants. The third weekend of the month and the weekdays that lead up to it mark the festival of the local saint, Saint Anselm of Bomarzo, the 25th also being the national holiday of the Liberation. The following weekend embraces May Day, the international celebration of the working man and woman, which needs no explanation. A young person asked me why we don’t celebrate this holiday in the United States, conjuring up old photos of the police and the National Guard in my mind.

Seven Ways to Improve the Tour de France

Cycling fans watch the opening time trial of Paris-Nice in Saint-Rémy-lès-Chevreuse, 3 March 2012. Photo © 2012 Alan Miller.

I wouldn’t go so far as the three-time world-champion Óscar Friere, who reckons that the Tour de France is “the most boring race of the year” — has he ever watched the Tour of Qatar? — but this year’s race did make me wonder how many more like it the old institution can take. Institutionalization is the Tour’s great burden, or at least its double-edged sword. For the casual fan it is the ‘race of record,’ cycling itself. Those who follow the sport more closely understand that while the Tour is undeniably the most competitive, and therefore the most prestigious, among the three Grand Tours of Italy, France and Spain, it often not the most interesting.

Food & Drink

Podcasts

Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting

Manfred Honeck. Photo Felix Broede.

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven’s First Piano Concerto with Inon Barnatan and Mahler’s First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner’s Fourth Symphony and looks forward to recording the Ninth.

In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers.

Christina Kobb Talks to Michael Miller about Historical Keyboard Technique

Christina Kobb, Pianist

The Norwegian pianist and scholar Christina Kobb came to wider attention in the United States when a New York Times writer picked up an article in a Scandinavian science magazine about neurological research carried out on her to analyze her movements as she played an electronic keyboard using modern and nineteenth century technique, which she has researched in her dissertation.