First up, an entirely delightful amuse-bouche minus title or program reference with Jeffrey Kazin, co-producer of The Bang Group, clapping the rhythms and Chelsea Ainsworth in pointe shoes tapping to the beat. As Kazin clapped an elaborate pattern Ainsworth echoed it; the couple then moved from the feet up the body incorporating other takes on percussion as she drummed on his torso and he slapped the ground. Juilliard grad Ainsworth was back in Two is You and deserves a shout-out for her expressive approach that maximizes every step.
Medea in Corinto (Medea in Corinth, 1813 and much revised over the course of the next ten years) was Mayr’s best-known opera and remained a repertory staple for a time even after his death. It has been revived frequently in our own day, especially in Italy, where audiences can of course follow the plot and shifting emotions without recourse to supertitles.
According to choreographer Maria Bauman, the work is a meditation on various kinds of endings, positive and negative. Bauman, Gibney Dance’s 2017 Community Action Artist in Residence, says she feels charged with alive-ness while at the same time embracing the paradox of multiple deaths happening every moment; dying and dying and dying is the result of dancing that paradox.
first saw Monica Bill Barnes performing Three Acts, Two Dancers, One Radio show and was charmed. Besides their obvious physical skills, Barnes and her sidekick, Anna Bass, were full of humor with an underlying sweetness pleasantly at odds with their somewhat tough physiques and staccato moves. Then I participated in The Museum Workout, following Barnes and Bass through galleries, up and down stairs at the Metropolitan Museum of Art, a group of us running and stopping to pump arms along the way which was an entertaining experience if not my ideal approach to enjoying art.
Every time I hear the Czech Philharmonic properly recorded I’m reminded what a glorious orchestra they are—overdue for appreciation. The ensemble recently signed a major contract with Decca and released Dvořák symphonies and concertos on CD, led by Jiří Bělohlávek. There’s also a complete Tchaikovsky project in the works from Semyon Bychkov. And now we have this beautiful take on the Slavonic Dances, captured without compromise.
Between the limits of the discipline, as it is taught in graduate schools, and the structure of museological functions, exhibitions of drawings usually adhere to a restricted range of formats, which, while continuing to be viable for institutions and the public and useful for scholars in the field, can be felt as constricting for those who conceive and execute them. The scope of drawings exhibitions can be determined by time and/or place (stylistic categories), or an artistic personality (monographic), or collection ("Treasures on Paper from..."), and perhaps a few others. When a curator is faced with such a project, he may may find himself wrestling with an urge to break the mold and create something new.
The Boston Symphony Orchestra’s 2017 Tanglewood Music Festival, very successful by many reports, has just concluded, with the new season in Boston to begin very soon. I offer here the perspective of a look back at the preceding season in Boston, commenting mostly on BSO, but also a few other events. I was able to attend only one Tanglewood concert this summer: the impressive concert performance of Wagner’s Das Rheingold, conducted by BSO Music Director Andris Nelsons, with a large, excellent cast. A good sign for the future.