Articles by Michael Miller
The Scottish Chamber Orchestra, founded in 1974, has enjoyed a world reputation for some time now for the work they have achieved over the years under Sir Charles Mackerras, who still conducts the orchestra on occasion. And they are anything if not versatile, playing a repertory spanning the Baroque and the contemporary. Saturday evening they were in their Classical mode, playing Haydn and Beethoven with a slightly relaxed compliment of original instruments (i.e. cellos on pins and metal flute alongside gut strings, natural horn and trumpet, etc.) under the direction of the brilliant Swiss conductor, Thierry Fischer. The evening was a splendid success, full of imaginative insights and intense music-making. The orchestra and singers seemed to enjoy it as much as the audience, a special distinction for Mr. Fischer, who conducts without a baton, using vigorous, occasionally extravagant gestures, which never failed to bring the musicians together in committed playing and tight ensemble.
Last month two remarkable men died, Konrad Oberhuber on September 12 and Nicholas Hlobeczy on the 14th. Since they both exercised a similar beneficent influence on the world through art—and on me personally, I think it fitting to honor them together. They were on the surface quite different. One was a prominent curator and art historian, a specialist in the Italian Renaissance and in the art of drawing; the other was a photographer and poet, vividly familiar and loved by those who knew him and his work.
John Cage Tribute Concert at Bard; Lecture on the Weather
“Even when our industrialists thought of themselves as the owners of the world, of all of it, not just the part between Mexico and Canada. Now our government thinks of …
I find myself torn between the temptation to write at length about these fascinating stage works by Zemlinsky and my responsibility to you, our readers, to let you know about this absolutely wonderful evening at the opera, so that you can grab some tickets before they all disappear. Yes, this will have to be short, and it cannot do justice to these brilliant operas or the amazing work all of those involved have put into these splendid productions. The experience was both profound and immensely entertaining.
For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner's third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs marching through the aisles and trumpets spread about the hall. Although, as always, Ms. Queler's focus was always on the music, she captured some of the spectacle of the first performances.
[caption id="attachment_1593" align="alignright" width="300" caption="Kyung Hong as Eva and James Morris as Hans Sachs, photo: Beatriz Schiller/Metropolitan Opera"][/caption] The Metropolitan Opera, New York, March 10, 2007, 12 pm Eva: Hei-Kyung Hong Magdalene: Maria