This is, I think, the third alert of this sort I have sent out in my thirteen years of arts journalism. I have just come from one of the most extraordinary evenings I have experienced in many years of opera, and there is only one more chance to attend it, Sunday morning, August 26th, at 10 am at the Latchis Theater, 48 Main Street in Brattleboro, Vermont. Even if you have something important scheduled, change it and be there!
For some time now, there has been a tendency for directors and actors of Hamlet to treat the protagonist’s mother and uncle/stepfather with more tolerance than in the moralistic past. Shakespeare doesn’t oblige us to view them as outright villains or to see them—or the deceased King of Denmark—from Hamlet’s eyes, but that’s what has usually happened. In the late 1990s John Updike took this about as far as it can sensibly go in his novel, Gertrude and Claudius,
My own Tanglewood season began with this solid program in Seiji Ozawa Hall: a neglected program piece by an early 20th century composer, once more famous than he is today because of two isolated tone poems, the premiere of a substantial new work by a prominent former TMC Fellow, and a fresh look at an over-familiar symphony—the warhorse of all warhorses, some might say—by one of the canonical 19th century composers.
Perhaps it was the vivid recent memory of the splendid O’Casey cycle at the Irish Rep in New York, but early in the course of The Night Alive, long before Conor McPherson introduced the time-bound specifics, I felt he was recording a moment in history, as O’Casey had done in many of his plays, especially the earlier ones, which he wrote so close to the events that moved his characters, that they have a whiff of the reportage. The events that surround the action of The Night Alive are no more central to McPherson’s story than they are to O’Casey’s. Both are focused on their characters, on people, as their situation is determined by events outside their control.
With Shakespeare and Company’s Winter Studio Festival of Plays drawing to a belated conclusion, because of a fierce winter storm, and the press announcement of the 2019 season coming up, it seems a particularly opportune time to publish the Podcast of my interview with Artistic Director Allyn Burrows about the highly successful 2018 season.
I’ve been harping on acoustics in my past few reviews, not only as a personal crotchet (which I must own), but because the issue has been cropping up of its own accord. It’s particularly frustrating that Chapin Hall at Williams is so fine to look at, while its sound it is so dismal, but to be fair, it was built for academic pomp, not music. What’s more the acoustically outstanding auditorium at the Clark is not often used for music. However, Berkshire County people are lucky to be in easy reach of several halls which are among the best in the worldÃ‚Â—I mean not only Symphony Hall in Boston, or the wonderful Seiji Ozawa Hall at Tanglewood, but Mechanics Hall in Worcester (1857, sadly underused for music), the Sosnoff Theater at Bard’s Fisher Center (2003), which I’ve already discussed on several occasions, and the Troy Savings Bank Music Hall, also on the Hudson, built between 1871 and 1875 to the designs of George B. Post. It’s not the only concert hall to have been constructed as a multipurpose building, but its vaulted roof and Greek temple which dominate the rooftops and steeples of this once grand commercial city is unusual. Its acoustics are legendary, and I’ve wanted to hear music there for some time. I’m grateful that my responsibilities to BFA have allowed me to give it a priority, and I’ll most certainly come back regularly to hear this great hall, the excellent Albany Symphony, and as many as possible of the other compelling events it hosts.
Without a doubt the most encouraging cultural development in the Berkshires in 2016 was the first season of the Berkshire Opera Festival, founded by Jonathon Loy and Brian Garman. The quality of the first production, Puccini’s Madama Butterfly, proved the promise of the endeavor to be solid reality.
In preparing a review of last year’s Bard Music Festival, Chopin and his World, I was especially struck by the ability of a festival to present his oeuvre in such a way that the audience could clearly perceive the course of his development as a composer. Jim Samson, one of the preeminent Chopin scholars, I found, had an especially convincing view of his development, which he published in his The Music of Chopin (London, Boston, 1985). The organizers of the Board Festival presented a rather different selection of Chopin’s works, which was nonetheless valid. I still thought it worthwhile to put together musical illustrations to Professor Samson’s outline of the points de repère, the landmarks of Chopin’s development. In my review I suggest that an extra concert devoted to Chopin might fill some gaps. This offering, with multiple performances of some of the works, is more of a Chopin orgy than a concert, but you can listen anywhere and pick and choose.