Brooklyn Academy of Music
Time passes so slowly in the Maly Theater's production of Uncle Vanya, as souls pace the width of a sparse, unforgiving stage, that tensions and grievances dissipate into the ether, or else sink like dead weight. For characters flush with passion on the hottest day of summer, the air is cool and still with inertia. This production bares its soul when it just lets its characters be, enunciating the language, allowing itself to breathe and become suspended in the byt, the banality of everyday existence.
The life and career of Henry Purcell (1659-1695), the colossal figure who dominates the history of English music, occurred at the chronological mid-point of the Baroque, a period whose leading and most distinguishing genre is opera. And yet, opera never took root as a native product in English cultural soil. For that it had to wait until Purcell’s distant successor, Benjamin Britten, appeared on the scene two hundred and fifty years later. Twenty years after Purcell’s death, Handel arrived with his succession of exotic opera singers: Italian divas and castrati who swooped in like birds of paradise warbling their outlandish roulades and then vanished. The taste for such entertainment lasted at the most 25 years. Meanwhile, Purcell wrote only one true opera, a tiny gem that was held to be the only crown jewel for centuries, the miniature Dido and Aeneas of 1689. (John Blow’s fine companion piece, Venus and Adonis of 1701, still has not established itself in the canon.) And it was written for a girls’ school run by a dancing master, or at least its first documented performance occurred in this context.
The Winter’s Tale
by William Shakespeare
A Bridge Project production at BAM, directed by Sam Mendes
Simon Russell Beale – Leontes, King of Sicily
Michael Braun – Dion, Lord of Sicilia/Florizel
Morven Christie – Perdita/Mamillius
Sinéad Cusack – …