an blog | AJBlog Central | Contact me | Advertise

Eschenbach in Salzburg: How was booing possible?

Only weeks ago, Christoph Eschenbach's new recording of Paul Hindemith orchestral works came bubbling through my speakers with a kind of sparkling animation and buoyant rhythms one rarely hears in typically machine-tooled performances of this ultra-contrapuntal composer. "Eschenbach got his groove back," I thought. The orchestra was NDR Orchestra, which he has been returning to, having been its chief conductor 1998–2004. Of all the orchestras he has led since the Houston Symphony Orchestra (1988-1999), NDR seemed to understand him best, … [Read more...]

David Lang’s anti-opera: Where secrets become art

By his very nature, David Lang rethinks everything we think we know about any given avenue of music. And with the whisper opera, which was performed over the weekend of Aug. 10 at Lincoln Center's Mostly Mozart Festival, he did so by going to the polar opposites of what theater audiences are used to: Quietude, revelations of the most intimate sort and a level of fragmentation that was barely imaginable in a stage work so cogently conceived. The libretto was culled from social media, taking sentences (or fragments of them) from anonymous … [Read more...]

Britten’s Curlew River: Tanglewood’s Madwoman makes sense through the art of subtraction

Benjamin Britten could be so comforting when at his most dictatorial. His advice to performers was simple: Do exactly what he wrote, no more and no less, and all will be well. Certainly that seems true in his instrumental works, performances of which have acquired a uniformity (or quality control, in the composer's mind). But what about theatrical matters? Does his word carry as much weight? His credibility isn't helped any by his famous dislike of Jon Vickers's revisionist portrayal of the title character of Peter Grimes, an … [Read more...]

What Stockhausen left for us Earthlings

Karlheinz Stockhausen made it his business to be enigmatic - which is the core cause of his being modern music's greatest public relations disaster. Long before he made his 9/11 gaffe ("And that is the greatest work of art that exists for the whole Cosmos"), long before he revealed that he had extra-terrestrial origins (he claimed to be from a planet orbiting the star Sirius), Stockhausen retreated from the public, all but posting no-trespassing signs on his work by withdrawing his extensive discography from conventional circulation and making … [Read more...]

Living Blind: In plays, operas and restaurants

Rarely pleasant and all-too-familiar, stumbling blindly into uncertain darkness - whether bicycling down a nighttime country road or solving a near-impossible problem - is an accepted fact of adult life. But not everybody wants to attend an opera that embraces that condition - starting with the blindfolds that audiences were required to wear throughout The Blind, Lera Auerbach's opera, developed by American Opera Projects and presented last week at the Lincoln Center Festival. Lining up in the hallway leading to the Kaplan Penthouse, one … [Read more...]

David Oistrakh in China – and other Russian footprints in Asia

Russia's cultural invasion of China was relatively short - roughly 1952 to 1961 - but left a lasting mark, despite efforts to stamp it out.   The evidence is increasingly visible. In the lobby of the Shanghai Concert Hall, two manuscript pages from Tchaikovsky Symphony No. 6 are framed. How did they survive Mao's Cultural Revolution? Inside the hall, the Shanghai City Symphony Orchestra is conducted by 88-year-old Cao Peng, who now proudly proclaims himself to be a graduate of the Moscow Conservatory, has given his semi-professional … [Read more...]

Report from China: Mysteries of cinematic censorship

SHANGHAI - Mysterious indeed was the delayed China opening of Quentin Tarantino’s film Django Unchained. It finally arrived on Mother’s Day weekend, in a limited way, after a delay of approximately a month, when the film was announced for wider release but got only a few hours into its first screenings before being abruptly pulled by censors with little warning and, of course, no explanation. A revenge parable about a pre-Civil War freed slave in the Deep South trying to find his lost wife, the film had already run the gauntlet with Chinese … [Read more...]

Laurie Anderson’s Landfall: Sinking into numbers, sounds and extinction?

Is Laurie Anderson too cool to be anguished? Not lately, and certainly not in her new collaboration with the Kronos Quartet, Landfall, that had its East Coast premiere over the weekend at Montclair (NJ)  State University’s Peak Performance series. Early on in the piece, the string quartet plays a probing, wandering melody amid vaguely mournful chords gently propelled by an electronic rhythm track. Then, Anderson began to speak – something she hadn’t done so much of in this piece. Knowing that her personal archive at her downtown … [Read more...]

From Rittenhouse Square to the Salome Chamber Orchestra: Are rare instruments starting to play us?

"A Stradivari in Philadelphia" was the name of a recent concert on Rittenhouse Square, and, in my experience, the first time the instrument took top billing over the performer and repertoire. Some composer names were found in the fine print (no mention of what pieces) and the violinist was one Matteo Fedeli. Strads are hardly news in Philadelphia.  Why would anybody suggest otherwise? My theory: The veneration of rare instruments has escalated to a new level. Price records keep getting broken, the current one being $3.6 million paid for the … [Read more...]

Paul’s Case: An opera that buries carnations in the snow

Sometimes an opera grows into the time in which it’s meant to be heard. Such is the situation with the unpromisingly-titled Paul's Case by composer Gregory Spears and librettist Kathryn Walat, first heard in ink-not-yet-dry circumstances in the 2009 Philly Fringe Festival. Now, in a new, late-April production by the Washington, D.C.-area company Urban Arias, the piece is nearly ready to claim a place in the chamber opera repertoire - thanks to a long-haul development process for which American Opera Projects deserves much … [Read more...]

an ArtsJournal blog