Composer Helen Grime

Two Premieres and Revival of a Standard and a Forgotten Charmer at Tanglewood: Asbury, Aspinall, and Farrell Conducting the TMC Orchestra; Intimacies of O’Keefe and Stieglitz by Kevin Puts Premiered by the BSO under Nelsons

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.

Thomas Ades leads the TMC Orchestra. Photo Hilary Scott.

Sounding the Mysteries: Nature, Music, and the Human Soul

TMC orchestra performances tend to be somewhat haphazard assortments of repertory, mostly of high quality, but diverse rather than coherent as programs. Monday night’s concert was different: there were resonances among the works that indicated a triangle of influences and artistic interests with the apex being in the music of British composer Thomas Adès, who conducted half of the program.

Tamara Hickey and Thomas Brazzle. Photo Stratton McCrady.

A Singer’s Notes 136: Cymbeline at Shakespeare and Company; Elgar at Tanglewood

For me Cymbeline is all about the new Blackfriars Theater, an enclosed space, a place to speak quietly, a place lit by candles, a space that found William Shakespeare buying a house in the vicinity, a space for a riot of inventiveness, revived for us by Tina Packer. Think of the bedroom scene where Iachimo examines the sleeping Imogen. This scene played in The Globe would surely have produced some less than elegant speech from the crowd. Shakespeare and Company’s production chose something of a middle way, a humorous assault on Imogen’s person, which must have played better in the Blackfriars Theater, the audience being genteel, and their number being small.

TMC Vocal Fellow Fleur Barron and Dominik Belavy perform in Kurt Weill's Seven Deadly Sins in Ozawa Hall. Photo Hilary Scott.

A Singer’s Notes 127: Great Things at the TMC, and Good Fun at the Berkshire Theatre Festival and Shakespeare and Company

In line with the excellent work I have heard at Tanglewood, was the Fellows’ vocal concert. Kurt Weill’s The Seven Deadly Sins was masterfully led by mezzo-soprano Fleur Barron, Nuno Coelho, conductor, with Nicholas Muni as director. Mr. Muni’s direction was not fussy, and it tapped into the knife-edged nature of the show without excess. Ms. Barron gave a masterful performance. Not only was her voice beguiling in every way, she moved decisively, and somehow naturally, through the opera. Each of her skills contributed to a larger convincing performance in this ice-cold piece.

Michael Raymond-James and Rebecca Brooksher in "Cat on a Hot Tin Roof." Photo Emma Rothenberg-Ware.

A Singer’s Notes 125: Four Good Things—Aston Magna, Two from TMC Orchestra, and the Berkshire Theatre Festival

Aston Magna’s J.S. Bach concert in The Mahaiwe Theatre was a banquet of riches. The music itself ranged from abject woe in Weinen, Klagen, Sorgen, Zagen to vaudeville hijinks in The Singing Contest of Phoebus and Pan. Where do I begin? The unique singing of Dominque Labelle arrests the senses. You must listen to it. Ulysses Thomas’s rich, aristocratic voice, Jesse Blumberg’s clear, actorly voice, William Hite’s beautiful, beautiful tenor, each spoke eloquently. Above all, the redoubtable Frank Kelley’s complete control of the act of singing, his exaggeration (wildly funny), his movement, and most wonderful of all, the subtle creativity of his timing, brought the house down. He is the complete package.

Seiji Ozawa Hall. Photo © 2012 Michael Miller.

A Week of Contrasts at Tanglewood: Two Orchestras, Two Pianists

The week from Sunday July 5 to Friday July 10 at Tanglewood afforded the opportunity to compare one of the world’s great orchestras (the BSO), most of whose members have honed their style and sense of ensemble over many years, to an ad hoc group of very talented young pre- or new-professional players who have been cobbled together into an orchestra in a few days. Regular readers know my inclination toward such ensembles; I seek out the TMC Orchestra concerts more regularly than I do those of the BSO, and last summer’s appearance of the National Youth Orchestra was a highlight of the season.

Mark Morris’s Staging of Britten’s Curlew River and Purcell’s Dido and Aeneas at Tanglewood

Tanglewood produced many of the summer’s memorable outings, but with pieces which somehow seem easier for a big Symphony to bring across to a big audience in the summer and in the country; music, like every other living thing in New England, can be highly seasonal and very much of its own place and niche. Many of the programs drew from the theater — ballet music and concert opera especially, or from the church — and extremely fine and satisfying performances of Debussy’s Danses: sacré et profane, l’Après-midi d’un faune, Jeux, Charles Dutoit’s of Ravel’s Daphnis et Chloë and Poulenc’s Stabat Mater, and one of Britten’s church parables Curlew River, to leave out many others, seem stick with me for a long time.

WP2Social Auto Publish Powered By : XYZScripts.com