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Posts Tagged ‘Glimmerglass’

Thumbnail : Crusading for Reason in an Age of Anger: Redefining Opera’s Role — Glimmerglass Festival 2012 and a Social-Centric Agenda

Crusading for Reason in an Age of Anger: Redefining Opera’s Role — Glimmerglass Festival 2012 and a Social-Centric Agenda

Should Art be merely an escape or refuge from the realities of our difficult times? In the 1940s, the debate heated and divided artists, musicians and scholars. In Wallace Stevens’s essay “The Noble Rider and The Sound of Words,” the twain are resolved in the idea that art, even “abstract” art can assume the role of social commentary only through innate and ineffable transformations of reality rather than by any explicit agenda dogmatically imposed by the creator. Great art could not be manhandled ideologically. How this solution might apply to opera of the past becomes the task of the director and musicians in balancing the surprisingly diverse elements of the music’s intent, the libretto’s intent, the historical context, and, yes, the composer’s objectives, if any. It is not surprising that Stevens regarded that an artistic creation had its own life apart from the creator’s wishes. Thus, we have the license for interpretation and deconstruction that has become the hallmark of Regietheater in our times.

Thumbnail : Tainted Ladies:  Georges Bizet’s Carmen and Luigi Cherubini’s Medea at Glimmerglass Festival 2011

Tainted Ladies: Georges Bizet’s Carmen and Luigi Cherubini’s Medea at Glimmerglass Festival 2011

Yesterday – would you believe it? – I heard Bizet’s masterpiece for the twentieth time. Once more I attended with the same gentle reverence; once again, I did not run away. This triumph over my impatience surprises me. How such a work completes one! Through it one almost becomes a “masterpiece” oneself – And, as a matter of fact, each time I heard Carmen it seemed to me that I was more of a philosopher, a better philosopher than at other times. I became so forbearing, so happy, so Indian, so settled….Bizet’s music seems to me perfect. It comes forward lightly, gracefully, stylishly. It is lovable. It does not sweat.
Friedrich Nietzsche – The Case of Wagner, (Leipzig, 1888).

Nietzsche was, of course, ironically extolling Carmen at the expense of his erstwhile mentor-idol-friend, Richard Wagner. Even though Wagner had been dead for five years, Nietzsche had great fun zinging Wagner’s family, followers, and the entire Bayreuth phenomenon. Yet, his comment that “it does not sweat” ultimately lingers in one’s judgment of Bizet’s masterpiece. Nietzsche would have had little to comment on the subject matter of this opera, nor on the moral turpitude to which the opera’s male hero falls. Nietzsche might have even identified with Don José in his own affair with the free thinking and flamboyant psychoanalyst, Lou Andreas-Salomé. With the philosopher’s mother and sister holding him in check, he never had the opportunity to be so lustily ruined by his own Carmen.

Thumbnail : Between a Barn and Bayreuth: Francesca Zambello discusses her plans for Glimmerglass.

Between a Barn and Bayreuth: Francesca Zambello discusses her plans for Glimmerglass.

A Season Prélude, Millbrook, New York, April 10, 2011 Songs by Georges Bizet and Irving Berlin Lauren Snouffer, Soprano Eric Schnobrick, Piano Francesca Zambello’s first season as Artistic Director of Glimmerglass will unfold very soon.  Indeed, much in Cooperstown will be transformed by her vision, if not her brand of exciting and eclectic taste. At […]

Thumbnail : The Glimmerglass Festival Announces Season Schedule for 2011

The Glimmerglass Festival Announces Season Schedule for 2011

Four New Productions, Including a World Premiere and Professional Premiere, Headline the 37th Festival.   Festival Artists Include Anne Bogart, Rod Gilfry, Nathan Gunn, Tony Kushner, Terrence McNally,John Musto, David Pittsinger, Jeanine Tesori and Deborah Voigt     Carmen (music by Georges Bizet, libretto by Henri Meilhac and Ludovic Halévy) Directed by Anne Bogart Conducted by […]

  • The Bard Music Festival at 25: Franz Schubert and his World
    My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, […]
    Michael Miller
  • A Singer’s Notes 98: No Amontillado, just Ale
    The much-maligned poetry of Edgar Allan Poe still bristles with excitement when one hears it. High and mighty Emerson called it a bunch of "jingles." The musical reference is appropriate. A poem like "Annabelle Lee" is basically a sound event. The sonic Poe I have in my imagination was revered by the French, Baudelaire in […]
    Keith Kibler
  • A Treasurable Account of Poe’s Last Hours from the Berkshire Theatre Group, with David Adkins and Kate Maguire, Closing 10/26
    You can't really blame the Berkshire Theatre Group for billing Eric Hill's splendid entertainment, POE, as a Hallowe'en show. As the holiday approaches, Poe's chilling stories and poems are rolled out in all the many forms they have assumed since their assimilation into two great cultural phenomena, American Literature and American Pop Culture, over the […]
    Michael Miller
  • A Singer’s Notes 97: It’s Hot Outside—Cat on a Hot Tin Roof Clicks at Oldcastle Theatre, Bennington
    Cat on a Hot Tin Roof is an obsessive work which makes wildly different demands on its actors. Renata Eastlick as Maggie starts us off which what amounts to a twenty-five to thirty-minute monologue. She did this superbly. It was just overbearing enough. Listening to her was the excellent Loren Dunn who played her husband […]
    Keith Kibler