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ABOUT "ABOUT LAST NIGHT" AND ITS AUTHORS 
This is a blog about the arts in New York City and the rest of America, written by Terry Teachout, Laura Demanski (otherwise known as Our Girl in Chicago, or "OGIC" for short), and Carrie Frye (who signs her postings "CAAF"). Terry, who lives in New York, is the drama critic of The Wall Street Journal and the music critic of Commentary. more

ABOUT TERRY'S BOOKS 
Terry recently finished writing Rhythm Man: A Life of Louis Armstrong, forthcoming in 2009 from Harcourt. He wrote the introductions to William Bailey on Canvas and the paperback edition of Elaine Dundy's The Dud Avocado. more

ABOUT TERRY'S OPERA 
Terry is collaborating with Paul Moravec on The Letter, an operatic version of Somerset Maugham's 1927 play. It was commissioned by the Santa Fe Opera and will open there on July 25, 2009. Here is an ongoing series of progress reports on the writing and production of The Letter.
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Lend me your ears (and eyes)
Men at work
Men at work (II)
Men at work (III)
Men at work (IV)
For better and worse
Men at work (V)
Men (and women) at work (VI)
Notes from an unkept diary
The case for lower-case opera
The envelope, please
Right turn at Albuquerque
Moment's notice

SEE TERRY TALK 
To view Terry's December videoblog, go here.

Archive  5100 entries and counting

CONTACT
tteachout@artsjournal.com
ogic@artsjournal.com
caaf@artsjournal.com

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TOP FIVE

A list of new things we've liked (subject to unexpected and wildly capricious updating).

BOOK 
Richard Stark, Dirty Money (Grand Central, $23.99). Flash: Parker's back. The ruthless burglar you hate to love is out to retrieve, launder, and spend the money he stole and stashed four years ago in Nobody Runs Forever, and--as usual--he'll do anything to get what he wants. Cold, amoral, and impeccably professional, Parker is Donald E. Westlake's most memorable and disturbing creation, and the twenty-fourth of his published capers is every bit as satisfying as its predecessors. Mr. Anecdotal Evidence had an instant conversion experience after reading No. 23, Ask the Parrot. What are you waiting for? (TT).

PLAY 
Boeing-Boeing (Longacre Theatre, 220 W. 48). Bliss comes to Broadway in the unlikely form of a half-remembered French comedy that crashed and burned when it last played the Great White Way in 1965. Marc Camoletti's seven-door farce, in which two hapless bachelors juggle three sexy stewardesses and a haughty Parisian maid, is feather-light, totally dated, utterly irrelevant, and rib-crackingly funny, in large part because of the brilliant performances of Mark Rylance and Christine Baranski. Give your brain a night off and do some serious laughing (TT).

CD 
Hilary Hahn, Schoenberg/Sibelius Violin Concertos (DGG). America's best young classical violinist has taken on a real nutcracker this time around: Arnold Schoenberg's 1936 concerto, a finger-twistingly hard piece of twelve-tone neoromanticism that sounds like Brahms gone bonkers. Even if you don't buy Schoenberg's music--which I don't--you'll find this specimen perversely fascinating, and Hahn has taken out a gilt-edged accident insurance policy by coupling it with Sibelius' ever-popular D Minor Concerto. Needless to say, the violin playing is fabulous, and Esa-Pekka Salonen and the Swedish Radio Symphony Orchestra provide immaculate support (TT).

BOOK 
William Maxwell, Early Novels and Stories (Library of America, $35). How did I fail to laud this collection when it came out earlier this year? Too busy, I guess, but it's never too late to sing the praises of Maxwell, a legendary New Yorker fiction editor who doubled as one of this country's most remarkable and least appreciated novelists. The Folded Leaf, written in 1945 and included in this collection, is the place to start, a deeply intelligent tale of adolescence angst that avoids all the pitfalls common to that genre. Also included is "The Writer as Illusionist," a 1955 essay in which Maxwell discussed his soft-spoken art with characteristic acuteness (TT).

CD 
Legendary Piano Recordings: The Complete Grieg, Saint-Saëns, Pugno, and Diémer (Marston Records, two CDs). Edvard Grieg, the first composer of significance to make records, cut nine 78s of his own compositions for piano during a visit to Paris in 1903. One year later Camille Saint-Saëns made the first in a series of sixteen recordings in which he plays piano solos and accompanies a good violinist and a not-so-good mezzo-soprano. All these stupendously rare performances, plus other important piano recordings of similar vintage, have now been transferred to CD by Ward Marston in meticulously pitch-corrected versions. The sound may be primitive, but the interpretations come through with uncanny, even eerie clarity, and as you listen to Grieg rippling blithely through "Butterfly" or Saint-Saëns tossing off his "Valse nonchalante" with fey elegance, you will feel closer to the lost world of nineteenth-century pianism than you ever before thought possible (TT).

Out of the Past

Not new, but still worth a look or listen (and no less subject to change without notice).

DVD 
Jacques d'Amboise: Portrait of a Great American Dancer (VAI). This is not a talking-heads documentary lightly sprinkled with fleeting performance snippets, but an anthology of long-lost TV appearances in which one of the foremost male ballet dancers of the Fifties and Sixties can be seen in uncut versions of George Balanchine's Apollo and Jerome Robbins' Afternoon of a Faun (dancing opposite the justly legendary Tanaquil LeClercq). Also included are four pas de deux and a rarity, Lew Christensen's Filling Station, one of the very first ballets on American themes, set to a witty score by Virgil Thomson. The moldering black-and-white kinescopes are a bit on the fuzzy side, but d'Amboise's charm and athleticism come through with immediate and irresistible clarity (TT).

CD 
The Art of Segovia (DGG, two CDs). For much of the twentieth century, Andrés Segovia was the world's best-known guitarist, and his concerts and recordings played a key role in re-establishing the guitar as a classical instrument. Alas, he kept on playing far too long for his own good, and by the time of his death in 1987 at the age of ninety-four, his reputation was in eclipse. This two-disc set, a fabulously well-chosen anthology of Segovia's greatest hits drawn mainly from the recital albums that he recorded for Decca in the Fifties, provides ample proof that he was every bit as good as his reputation. It contains guitar solos and transcriptions by (among others) Albéniz, Bach, Falla, Rodrigo, Roussel, Scarlatti, Tárrega, Torroba, and Villa-Lobos, all played with the grandly romantic sweep and impeccable technique that he commanded in his prime (TT).

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