In The Crucible, the Proctors sit at their plain table with John’s brief failing between them. He is a good man. He makes every situation better, more reasonable. He is a natural man. The land is his, and he is the land’s. Everything is in the quietness. She is the quietness. Christopher Innvar with a voice which lurches sadly, breaks the silence. Kim Stauffer, with a face barren and wide, makes cautious answer, and holds the distance between them in her hands.
Yehudi Wyner, whose career as a composer and a performing musician goes back some sixty years, finds himself entirely focused on the present at the moment, and very positively so. For one thing Bridge Records, who have issued the most substantial body of his work on CD, have released his collected sacred music, and Mr. Wyner is very pleased to have it all together in one place. Secondly, he is anticipating the premiere of a new work, a secular cantata called Give Thanks for All Things.
Years ago it was pretty much unthinkable to dine after an evening concert in Symphony Hall, unless you happened to find a Hayes Bickford that was open all night. It’s still not easy to find a place where you could relax and converse for a couple of hours without feeling rushed, much less being surrounded by floor sweeping, the overturning of chairs, and a glaring waiter. I do know a few places in the neighborhood that are open late, but I wouldn’t recommend them. Brasserie Jo, however, is one restaurant—a five minute walk away—where I’d feel comfortable settling in after a concert. The main menu remains available until 11 pm Monday through Saturday, and a bar menu takes over until 1.30 am. It’s also worth noting that lunch is served until 3 pm—a small blessing for us tardy folk and busy guests in the Colonnade Hotel.
The Barrington Stage Company excels in several different areas — modern classics, musicals, and brainy little contemporary plays — and is plagued only by one persistent flaw, the policy of using excessive amplification even in the diminutive Stage 2 theatre. Fortunately, that was absent in this performance, and all I have to talk about is theatre.
Omar Sangare founded the Dialogue One Festival for solo theater in 2007 at Williams College, where he had just assumed a position as Assistant Professor of theater studies. Before that, he had built up a stellar reputation as a writer, poet, singer, and actor in his native Poland, receiving a Ph.D. from the Theater Academy in Warsaw, where he studied with the great film director, Andrzej Wajda, among others. His many talents came together in solo theater, a field in which he is well-known in Central Europe and at international festivals. He was voted Best in Acting by the New York International Fringe Festival in 1997 for his one-man drama, True Theater Critic. The same year Sangare was invited to the Jerzy Grotowski Theater in Wroclaw, Poland, where he won four prizes at the Theater Festival. The monodrama was presented in Poland, Canada, England, Ukraine, Germany, and the United States, where it recently received the Best Performance Award at the San Francisco Fringe Festival.
Museum benches aren’t just for the weary. They’re for the bored and unreceptive, for the artistically indifferent and overwhelmed — for people like me. All my life I visited museums, but I rarely saw anything. I never got into fine art, and it never got into me. Never, that is until a few weeks ago when I visited the John Singer Sargent: Portraits in Praise of Women exhibition at the Fenimore Art Museum in Cooperstown, New York.
Ms. Gould is the founder and conductor of the highly popular Columbia Festival Orchestra, an ensemble that culls from some of the finest talents in the region and New York City. One “experiment” for her was to create a more portable ensemble and repertory that could appeal to new audiences in new, perhaps unconventional, settings. She alludes to the pioneering spirits of the Dutch who settled Claverack centuries ago.
I have long deemed Munich’s Alte Pinakothek one of the most underrated museums in Europe. Thanks to aristocratic connoisseurs like William IV, Maximilian I, and Ludwig I, the city now boasts an outstanding collection of Renaissance, Dutch, and Flemish masterpieces. The museum is well complimented by Alexander Freiherr von Branca’s Neue Pinakothek and Stephan Braunfels’s Pinakothek der Moderne since 2002. In fact, these robust institutions have allowed Munich’s Kunstareal to rise above the current economic crisis as promising young talent finds a slow but steady stream of patrons.