Archive for March, 2013
Sunday, March 31st, 2013
The Joyce Theatre program Working Women (Jan 30-Feb 3) offered an eclectic sampler of works by eight female choreographers. Like a four-course meal, the evening tendered various flavors of dance. The winning course turned out to be Camille A. Brown’s self-choreographed solo The Real Cool. Performed after intermission, this piece brilliantly combined the bitter, the sour, and the sweet.
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Tags: Bob Theile, George D. Weiss, Ken Padgett, Kyle Weiler, Mr. Tol E. RAncE, Rachel Straus, The History of Blackface, The Joyce Theatre, The Real Cool, What a Wonderful World, Working Women
Posted in The Torn Tutu | Comments Off on A Spotlit Standout: Camille A. Brown’s “Real Cool”
Sunday, March 31st, 2013
But one work far exceeded the others, and that was Camille A. Brown’s “The Real Cool.” The solo is part of a full-length dance “Mr. TOL E. RAncE,” which will premiere April 2-6 at The Kitchen.
But one work far exceeded the others, and that was Camille A. Brown’s “The Real Cool.” The solo is part of a full-length dance “Mr. TOL E. RAncE,” which will premiere April 2-6 at The Kitchen. Brown, a well-known African-American choreographer, has been lauded for her character-driven, highly physical dance works that combine vernacular and concert dance traditions. Judging from “The Real Cool” excerpt, Brown’s “Mr. TOL E. RAncE” will deftly explore the experiences of African-American performers today, and yesterday.
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Posted in The Torn Tutu | Comments Off on Camille A. Brown’s “The Real Cool,” Coming to The Kitchen
Thursday, March 28th, 2013
By ANDREW POWELL Published: March 28, 2013 MUNICH — Bayerischer Rundfunk chose to film Bach’s St Matthew Passion last month in the Herkulessaal, in blue light. Drafted for the mood-enhanced venture were Karina Gauvin, Gerhild Romberger, Maximilian Schmitt and Michael Nagy, the vocal quartet; Julian Prégardien and Karl-Magnus Fredriksson as the Evangelist and Jesus; the […]
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Tags: Arte TV, Bach, Bayerischer Rundfunk, BR Chor, BR Klassik, Chor des Bayerischen Rundfunks, Concerto Köln, Gerhild Romberger, Herkulessaal, Jan Freiheit, Julian Prégardien, Karina Gauvin, Karl-Magnus Fredriksson, Lent, Matthäus-Passion, Maximilian Schmitt, Mayumi Hirasaki, Michael Nagy, München, Munich, Peter Dijkstra, Regensburger Domspatzen, Review, St Matthew Passion
Posted in Munich Times | Comments Off on BR Chor’s St Matthew Passion
Thursday, March 28th, 2013
by Sedgwick Clark PK turned to me last Friday (3/22) at Carnegie Hall when the applause had died down for intermission and asked, “Where did he come from? He’s so musical. Where did he train?” Moments later, she continued animatedly to friends who had joined us, “He seems relaxed with the piano – it’s not […]
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Tags: carnegie hall, Gustavo Dudamel, isoldes liebestod, Jeremy Denk, sedgwick clark, sonetto 123 del petrarca
Posted in Why I Left Muncie | Comments Off on “He’s So Musical”
Friday, March 22nd, 2013
By Rebecca Schmid Experimental Regie, free from the scrutiny of finicky patrons on the German opera scene, can in the best case scenario serve to illuminate hidden meanings of a score. In the worst case, it can drown out or obscure musical considerations. The Staatsoper Berlin’s Werkstatt (‘workshop’), a wing of the company’s temporary residence […]
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Tags: Beate Baron, Friederike Frerichs, Götz Friedrich, Gregor Fuhrmann, Hans Hirschmüller, Infinito Nero, Jenny Kim, Maria Maddalena de’Pazzi, Miss Donnithorne’s Maggot, Peter Maxwell Davies, Rebecca Schmid, Rowan Hellier, Salvatore Sciarrino, Sarah Maria Sun, Staatsoper Berlin, Vanitas, Werkstatt
Posted in Berlin Times, Uncategorized | Comments Off on Vanitas Vanitatum, Omnia Vanitas
Thursday, March 21st, 2013
by Sedgwick Clark In his “New York Chronicle” music column for the April issue of The New Criterion, my friend and colleague Jay Nordlinger writes about a concert by Amsterdam’s Royal Concertgebouw Orchestra that we both attended on February 13 at Carnegie Hall. At one point he notes that some audience members applauded between movements […]
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Posted in Why I Left Muncie | Comments Off on On Breaking the Spell
Thursday, March 21st, 2013
By: Edna Landau To ask a question, please write Ask Edna. I recently had the pleasure of attending one of Chamber Music America’s very informative, helpful and free “First Tuesdays” workshops which focus on a different professional development topic each month. This particular one, which was called “The Art of the Cold Call”, was expertly led […]
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Posted in Career Etiquette | Comments Off on The Personal Touch
Wednesday, March 20th, 2013
By Brian Taylor Goldstein, Esq. Dear Law and Disorder: We booked one of our artists to perform at a non-profit venue. The booking agreement was signed by all parties. We just received a phone call from the venue that their board met last night and decided unanimously to cancel the engagement due to poor ticket […]
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Tags: acts of god, board chairs, booking agreement, breach, breach of contract, Brian Taylor, cancellation, cancellation fee, contract, contract situation, contract states, contractual obligations, damages, Goldstein, lawsuit, legal obligations, Non-Profits, poor ticket sales, presenter, reasonable solution
Posted in Acts of God, Agents, Artist Management, Arts Management, Contracts, Law and Disorder: Performing Arts Division, Liability, Non-Profits, Presenters, Venues | Comments Off on Does God Serve On Their Board?
Friday, March 15th, 2013
Peck, a twenty-five year old City Ballet corps member, is not a complete novice in the art of choreography. La Jolla is his fourth work for City Ballet, following his most recent critical success, Year of the Rabbit. But La Jolla, set to Bohuslav Martinu’s Sinfonietta la Jolla, didn’t win me over. Peck’s choreography rarely conjures any sense of La Jolla as an actual place. The ballet seems to be in the service of displaying the dancers’ high level of technical ability, and Peck’s choreographic proficiency. He skillfully arranges his 18 dancers in geometric formations and patterns through an array of steps that feature the classical ballet lexicon. It’s a charming, impressive display. However the confounding part about La Jolla is what it actually evokes: the urgent, frenetic pace of New York.
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Tags: Alexei Ratmansky, Amar Ramasar, California, Cleo Person, Concerto DSCH, Jerome Robbins, Justin Peck, N.Y. Export: Opus Jazz, New York City Ballet, New York State Theater, Paz de la Jolla, Reid Bartelme, Sterling Hyltin, Tyler Peck, Year of the Rabbit
Posted in The Torn Tutu | Comments Off on Paz de la Jolla: A trip to the ballet, not to California
Thursday, March 14th, 2013
by Sedgwick Clark FINAL NOTICE: MY BLOG IS NOW POSTED ON THURSDAYS RATHER THAN ON WEDNESDAYS. All scribes like to receive mail, even negative, because it shows that someone is reading us. A welcome note about last week’s blog, which concerned my love of youth orchestras, arrived from my good friend John Canarina, conductor, educator, […]
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Posted in Why I Left Muncie | Comments Off on Happy Birthday, Pierre Boulez