Sharon Pian Chan: “The Mikado is the same shtick, different race. A black wig and white face powder stand in for shoeshine. Bowing and shuffling replaces tap dancing. Fans flutter where banjos would be strummed. … This is the wrong show – wrong for Seattle, wrong for this country and wrong for this century. And I don’t mean wong.”
“Last year one museum was built every day on average, though the rush has since ‘slowed’ to about one every three days” Author Cathy Giangrande talks about the various kinds of museums being opened, what they are and aren’t doing well, and how the government is and isn’t involved in the museums’ content.
“Symphonic music in gambling resorts isn’t unknown (the Philadelphia Orchestra plays the casino mecca Macau on its Far East tours). Still, with Atlantic City’s economy faltering … you might expect entertainment to trend a little lower rather than aim at a classical niche.” But not at the upscale Borgata, which just hosted Yuja Wang playing a Shostakovich piano concerto.
“Long headquartered outside of the city, the company has settled into its new home at Boardwalk Hall, with all the dancers living close by in two big houses. The company will dance regularly at the Claridge, on the Boardwalk at Kennedy Plaza, and in a series of ‘Up Close and Personal’ performances inside its new ballet studio.” Company founder/director Phyllis Papa talks about the company’s past and future.
“Every time a fluted column or pedimented doorway gets in the way of a future gallery, the same problem crops up: how to make a grand old building more rational and efficient without neutralizing its idiosyncrasies—how, in other words, to make it better without ruining it completely.”
“In the obituaries and tributes that will flood the media in the coming hours and days and weeks, Castleton will not play as large as the major international ensembles Maazel shaped and led … But for the Washington region, Castleton offered a closer and more personal look at Maazel’s life and work, and even family.”
“He was revered for the precision of his baton technique, and for his prodigious memory — he rarely used a score in performances — but when he was at his most interpretively idiosyncratic, he used his powers to distend phrases and reconfigure familiar balances in the service of an unusual inner vision.”