The first weekend of the 112th Bethlehem Bach Festival is behind us. Fortunately for those of us who weren't there for it the Festival has long adopted the policy of repeating the program over the following weekend, now coming up. Both weekends come close to selling out, but it should still be possible to purchase tickets for all events.
Articles by Michael Miller
In recent years a great deal of Paula Robison’s energy has gone into training the next generation of flutists. Knowing her approach to music and many other valuable forms of thought and expression, her teaching is a humanistic education in itself. Still, she finds time to perform and record. Most recently she delighted a New York audience with her talents as a narrator—in French, on this occasion. Narration for her is a passion that goes back to her family origins, as the daughter and niece of theater people: her mother was an actress, her father a screenplay writer, and her uncle a playwright.
In planning the Nitrate Picture Show, the richest opportunity to view vintage prints of films on nitrate stock in the world today, the organizers at the George Eastman House adopted the policy of not announcing the screening schedule in advance. One comes to the festival and views what is offered. This idea didn’t come from nowhere, since the founder and first curator of the film department at Eastman, James Card, implemented it at the Telluride Festival, which he co-founded in 1974. I was thrilled with this concept when I first attended the Festival in 2017, and it continues to hold its fascination.
The subject of this interview, Nathan Benn, was very much a creature of the new generation. He was 22 when The National Geographic hired him in 1972 and 31 in 1981, when his editors sent him back to his native Florida to illustrate a feature article about its current condition in a troubled time, when the legal system was strained by drug trafficking and local citizens were challenged by a influx of refugees from the Caribbean. When he set to work, Mr. Benn began to push the Geographic’s envelope, both artistically and journalistically. His occasionally satirical social observations and gritty record of crime and law enforcement activity thrilled one of his editors but appalled another one, who was especially set in the magazine's anodyne values of the Midwest and the 1950’s.