Articles by Seth Lachterman

New York Arts

Tanglewood Stream Fishing 2020 Part 2: Yo-Yo Ma and Emanuel Ax Play Brahms, Beethoven, Mendelssohn

Ax and Ma chatted about their relationship over the years and the personal idiosyncrasies that sustain or annoy them both. To engage novice listeners, the Beethoven’s sonata became the subject of some slightly nerdy talk about the tonic-dominant-tonic arches that propelled the Beethoven’s sonata. Finally, somehow, they drifted to discussing chef Jacques Pépin’s freaky tolerance for seizing hot skillets its supposed relevance in interpreting the piano attacks in the scherzo.  
Opera

Opera Old, New, Borrowed, Blue: Glimmerglass 2019

The raucous, kaleidoscopic intertextual mash-up of Beaumarchais, Mozart, Rossini, Strauss, and Peter Weiss is grand entertainment.  It is so obsessively referential to other operas and plays that the nearly three hours of puns, parodies and lampoons might be wasted on anyone other than certified opera nerds.  One might believe that William Hoffman and John Coragliano overdosed on Douglas Hofstadter’s reflection on self-reflection, Gödel, Escher, Bach, Michael Zemeckis’ Future franchise films, and von Hofmannsthal/Strauss’s Ariadne auf Naxos.
Music

Stars Crossing in New York’s Electric City

It is simple enough to dismiss the once vital Schenectady New York, with the dwindling fortunes of General Electric. The town with a hard-to-pronounce name famously malapropped in Charlie Kaufman’s SynecdocheNew Yorkwas once the seat of the largest employer and economic force in the upstate New York region. The fates have been unkind, and its poor environmental record coupled with challenges transitioning to renewable energy has dealt a fatal blow.

Opera

Glimmerglass 2018: Sense and Centennials in the Field of Dreams.

In the heat and humidity of July, which was unmitigated in tranquil Otsego county, the Glimmerglass Festival proved, yet again, that opera and musical theatre can coexist and beat the Arts-in-the-Trashcan odds in today’s society. So much of Glimmerglass’s success must be conceded to Francesca Zambello’s untiring, hands-on management and her supreme skill in selection, execution and coordination. The topic du jour in beds and breakfasts throughout Cooperstown this year is classical opera’s fate in the coming years.  Most opera houses in the U.S. are in dire straits: talk of the Fall of Opera is bruited about the Metropolitan Opera in the wake of administrative cataclysms and scandals; small, independent opera houses are clinging on with white nails suffering from dwindling endowments and audiences.
Berkshire Review

Glimmerglass 2017: Opera in Angustiis: Commentaries for our Troubled Times in Stunning Glimmerglass Season Siege of Calais

The late Donizetti masterpiece, L'assedio di Calais (The Siege of Calais) is a rarity indeed, even in Europe. Four years after the first performance, l’assedio was not performed again until 1990.  One hundred and eighty-one years after its premiere in 1836, this Glimmerglass production marked the American premiere.  During its composition, Donizetti had struggled with it and bent operatic conventions to seek performances in Paris. Ultimately, the opera was a tactical failure and Donizetti wound up with two versions, with an unequal number of acts. In preparation for this production, Francesca Zambello and Joseph Colaneri worked on a new performing edition that tightened loose ends and yielded a satisfactory, if not compelling, conclusion.  Some ballet music was lost in the cuts, but dance (to curry favor with French opera goers) would be an awkward addition to the nobility and gravity of the plot. In the Zambello/Colaneri conclusion, the final exculpation of six sacrificial hostages was emotionally and musically heartrending.
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