Tag Archive: Nav

Vasily Petrenko and Joshua Bell in a Russo-English Program with the SF Symphony: Shostakovich, Tchaikovsky, Glazunov, and Elgar

Vasily Petrenko. Photo Mark McNulty.

Hats off, ladies and Gentlemen! A conductor! And a great symphony!

Vasily Petrenko’s recent electrifying week with the San Francisco Symphony reminds the listener that Gustavo Dudamel is not the sole “conducting animal” to be found on the musical circuit these days. Esa-Pekka Salonen coined the term a while back, with the impassioned Venezuelan in mind. And indeed, Dudamel is the sort of refreshing performer who has the winds jumping to their feet like jazz musicians and bass players twirling their instruments. He is all about emotion as vitality. But physically, apart from the energy with which he beats time, his manner is unremarkable.

The fascination of Petrenko, by contrast, is his ability to reflect every quivering moment of the music somewhere on his face or body, as though he were a disembodied hologram. We joke about people who are “double-jointed.” But Vasily Petrenko might as well be quadruple-sprung and then some…this is a man who’d have no trouble tapping three heads, rubbing five tummies and signalling with numerous eyebrows at the same time!

Goodnight Irene Directed by Paolo Marinou-Blanco

Director: Paolo Marinou-Blanco Cast: Robert Pugh, Nuno Lopes, Rita Loureiro An exotic place, an eccentric character and enticing story make Goodnight Irene an excellent motion picture – perhaps the best shown in the 2008 Edinburgh International Film Festival. Robert Pugh…
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A Visit to the Tate Modern

Oh, that this rain would end! I dried my socks by stepping into the Tate Britain this afternoon.The museum collection is divided into three parts – the glorious, the dull, and the querulous. The glorious, all those luminescent Turner paintings, went on tour this year, so the mobs aren’t in attendance. The management left a few strays lingering in various galleries (like the sublimely bucolicGolden Bough and a Venetian water scene where only an outlined gondola betrays that Turner wasn’t painting a celestial city), and these left-behinds glow like yellow sapphires. The dull part of the Tate consists of traditional British paintings, large rooms hung double-decker style with portraits of horse-faced lords and their pale, powdered ladies. I have to squint to read the labels, so it’s work to separate the Reynolds, Gainsboroughs, and Van Dycks from the acreage of peerage that surrounds them. If I sound captious, it’s because the third portion of the Tate Britain, devoted to modern art, exasperated me.

In Praise of Herbert von Karajan, with a Selective Critical Discography

My immediate reaction to Michael Miller’s commentary on the Karajan centenary [Oh no! He’s not back again, is he? – May 2, 2008] was rather choleric, but I’ve settled down a bit since then and can write this from a relatively balanced perspective.

More from Edinburgh and London…and more Elgar at Bard

The British Museum

This week more reviews from Edinburgh and London will appear, as well as from Annandale-on-Hudson, including a symposium on Anglophilia, no less. There was a fine evening of Mendelssohn with the Scottish Chamber Orchestra under Frans Brüggen with the distinguished young violinist Viviane Hagner, Wagner’s Siegfried, from the Royal Opera’s new Ring Cycle, which is receiving its first full performances this year, and—most British of all—the final weekend of the Elgar Festival at Bard. Reviews of several important exhibitions will follow in coming weeks: Richard Long and the Queen’s Flemish pictures in Edinburgh, and in London, the wonderful Millais exhibition at Tate Britain, al well as the major exhibition of the Queen’s Italian art, a once-in-a lifetime opportunity to see great paintings, drawings, and decorative arts rarely shown in public, including the recently “discovered” Caravaggio, which has been so much in the news.

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