THANKSGIVING

We are driving up and into the Catskill Mountains for 5 days.  We will be with the Godici family at their house in Claryville.

Lots of food and lots of family!











We walked up the hill to find and check our "Memory Rocks."  We stacked them together in an out of the way site.

The girls, Carolyn, and I stacked these rocks a while back.

 

 





Tulips from Roxy, Jere, and Ted in Los Angeles.

LINCOLN CENTER

Avery Fisher Hall
New York Philharmonic

Mozart - Symphony No. 39
Mozart - Symphony No. 41, Jupiter
Britten - Serenade for Tenor, Horn, and Strings

We recently heard the Britten piece but thoroughly enjoyed it and look forward to hearing it again.

A cold, dark, rainy night in New York City.  Good for music.

https://www.youtube.com/watch?v=PQ0ITqRBaE0

THEATER

Polonsky Shakespeare Center
Midsummers Night's Dream

I'M LEAVING THE BLOG BUT WE DIDN'T SEE THE SHOW.  We are now rescheduled for January 2nd, 2014.

The theater is in its first year and it's a technical wonder, black-box theater.  We really looked forward to the show because of the director and the wonderful work she did with The Lion King.

At 2:16 a representative of the theater came on stage and told us that the play was cancelled that day for medical reasons.  As we left, an EMS vehicle was in front of the theater.

 

For those who have seen the creativity of The Lion King, seeing a Shakespeare play by the same creator sounds enticing.

“The director who redefined spectacle on Broadway… has now given New York a Midsummer Night’s Dream that doesn’t so much reach for the heavens as roll around in them, with joyous but calculated abandon… For Ms. Taymor, the sky is not the limit. It’s a supple canvas to be stretched and bent to the whims of the imagination. Her eye-popping take on the canon’s most enchanted comedy… confirms Ms. Taymor’s reputation as the cosmic P. T. Barnum of contemporary stagecraft… This Dream exists… as a glittering necklace of breathtaking moments… [and] when the moments are this beautiful, they take root in your mind and assume lives of their own. Don’t be surprised when they start showing up in your own dreams. The ingeniously mixed music of Elliot Goldenthal ranges from anxious jazz riffs to sustained, ethereal lullabies.” – Ben Brantley, The New York Times

“FIVE STARS. Visionary director Julie Taymor is a thrilling painter of theater…she sprinkles each scene with creative fairy dust. You’d be hard pressed to find [a production] that rivals Taymor’s for beauty.” – Adam Feldman, Time Out New York

“A deliriously beautiful, deeply magical staging that’s as human as it is wildly inventive.” - Linda Winer, Newsday

A MIDSUMMER NIGHT’S DREAM
By William Shakespeare
Music: Elliot GoldenthalDirection: Julie Taymor

OCTOBER 19, 2013 – JANUARY 12, 2014

Julie Taymor, Tony Award winner for direction of The Lion King, is an artist internationally acclaimed for her bold and original imagination. For our inaugural production, she stages Shakespeare’s joyous comedy about the universal theme of love and its complications: lust, disappointment, confusion, marriage.A Midsummer Night’s Dream brilliantly conjoins four intertwined stories: the marriage of the Athenian Duke Theseus to the Amazon queen Hippolyta; the warring Oberon and Titania, king and queen of the fairies; the madcap follies of four lovers in a forest; and the comically earnest efforts of a group of working men to stage a love-play for the royal wedding. Lysander loves Hermia, whose father wants her to marry Demetrius. Helena loves Demetrius, who chases the eloping Lysander and Hermia into the woods, pursued by Helena. They are all fair game for mischievous Puck, Oberon’s servant, who scrambles their desires and Titania’s. As the working men press faithfully on with their rehearsals, the otherworldly night of confusion, passion and diligence proves oddly momentous, touching every life to the quick.Taymor’s vision will be a fantasia of light and shadow. The stage will breathe with the miraculous charms and powerful illusions of love.

To read critical acclaim for A Midsummer Night’s Dream, please click here. 

—

Leadership support for this production is provided by The Polonsky Foundation.

This production is sponsored by American Express.

Additional support provided by Hudson Scenic Studio, WorldStage, and Rolex Mentors & Protegés.

—

Julie Taymor is the first woman to win the Tony Award® for Best Direction of a Musical, as well as a Tony for Best Costumes, for her production of The Lion King. She has directed four major films: Titus,Frida, Across the Universe and most recently, The Tempest. Her opera stagings include Elliot Goldenthal’s Grendel and, for the Metropolitan Opera, Die Zauberflöte. At TFANA, she has directed Shakespeare’s The Tempest, The Taming of the Shrew, Titus Andronicus and Carlo Gozzi’sThe Green Bird.*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United StatesPoster Design: Julie Taymor | Photograph: Josef Astor | Graphic Design: Milton Glaser, Inc.Pictured above: Julie Taymor, photo by Marco Grob.

THEATER

New Victory theater
Feet Don't Fail Me Now!

We're taking two of our granddaughters, 6 and 7 years of age.

Feet Don't Fail Me Now

A Minnesota troupe of musicians and dancers lights up the New Victory stage.

           

The band and dancers of Feet Don't Fail Me Now.
(© The New Victory Theater)

"I should have learned to tap-dance." That's what you might find yourself thinking while watching Feet Don't Fail Me Now, the heart-pounding music-and-dance show running at the New Victory Theater. Kids, on the other hand, will likely beg parents for a pair of tap shoes.

The aptly named Rhythmic Circus, a troupe of talented hoofers from Minnesota, has paired up with seven-piece band Root City and the "human beatbox" Aaron "Heatbox" Heaton. Together they put on an exuberant, toe-tapping, hand-clapping hour of music and dance that adults will enjoy as much as kids.

The program comprises 14 numbers that jauntily bounce from bluesy guitar riffs at the beginning of "Dream Song" to the intoxicating Latin beat of "Salsa." Most of Root City's songs are accompanied by Rhythmic Circus' tap dancing, while "Heatbox" takes part in a little bit of everything, in addition to his own acts.

All of the pieces are unique and exciting, but a few stand out. Heatbox's solos are two of them. His performances — which involve mimicking the sounds of everything from a DJ scratching to the instruments of an orchestra, then sampling them all to create intricate, multi-voice songs — have to be experienced to be believed.

Also among the audience favorites is "Study Hall," a frenetic and fun example of percussive music using nothing but chairs and hands. The "Salsa" number features some of the wildest, most impressive tapping you're likely to see anywhere. And the title piece, "Feet Don't Feel Me Now," which bookends the show, combines the talents of the band, the dancers, and Heatbox with exhilarating, feel-good lyrics that bring you to your feet.

Though music and sound naturally play a part in the show, the visually compelling numbers, accentuated by Mark Ruark's stylized lighting, will delight deaf and hearing-impaired kids too. The eye-catching performances, colorful and frequently changed costumes, and silly shenanigans fill the stage with an irresistible, palpable energy.

For the final number, the band and the dancers ask everyone in the audience to get up, clap their hands, and dance. When it was all over, a young lady, who looked about 10 years old, stood applauding next to me and cried out, "That was the best show ever!" I have to say, it's right up there.

LINCOLN CENTER

New York Philharmonic
Benjamin Britten

Serenade for Tenor, Horn, and Strings
Spring Symphony

http://www.youtube.com/watch?feature=player_embedded&v=5RYBOPVc3ms

Today is a New York Philharmonic day!  We attended the rehearsal this morning and then the performance this evening.  Lots of music!

Regarding the rehearsal… The afternoon before the performance, yesterday at 4:30 PM, the tenor notified the Philharmonic that he would not be able to sing.  This morning, one hour prior to rehearsal, two tenors were acquired to sing the tenor roles.

That means… This rehearsal became a bit more of a rehearsal than that for the Beethoven's Ninth. 

The French Horn solos, valveless and valved, are played by the principal horn player of the Philharmonic.  He has been the principal horn player with the Philharmonic since 1980.  Let me say, he was spectacular. 

Philip Myers joined the Philharmonic as Principal French Horn (The Ruth F. and Alan J. Broder Chair) in January 1980, and made his solo debut with the Orchestra that month in the premiere of William Schuman’s Three Colloquies for French Horn and Orchestra. He has since appeared as a Philharmonic soloist often, most recently performing Mozart’s Horn Concerto No. 2, conducted by Lorin Maazel, in New York in January 2008 and again in February 2008 in Kaohsiung, Taiwan, and Shanghai, China. Mr. Myers began his orchestral career in 1971 with a three-year term as principal horn of the Atlantic Symphony in Halifax, Nova Scotia. He was third horn with the Pittsburgh Symphony from 1974 until 1977. As principal horn of the Minnesota Orchestra for a season and a half, he made a solo debut with that ensemble in 1979, performing Richard Strauss’s Horn Concerto No. 1, Sir Neville Marriner conducting. A native of Elkhart, Indiana, Mr. Myers holds two degrees from Carnegie–Mellon University in Pittsburgh. He plays Engelbert Schmid French horns.

http://www.nytimes.com/2013/11/23/arts/music/new-york-philharmonic-presents-a-britten-program.html?_r=0

CITY CENTER THEATER

A Bed and a Chair - A New York Love Affair
Wynton Marsalis, Bernadette Peters

'Before he began work on "A Bed and a Chair," Wynton Marsalis had played Sondheim only once, as the third substitute trumpeter for "Sweeney Todd." Now Mr. Marsalis has put his spin on more than two dozen Sondheim songs in a new work designed to express their mutual love of New York City. With a score performed by the Jazz at Lincoln Center Orchestra, the story follows two couples played by Bernadette Peters, Norm Lewis, Jeremy Jordan and Cyrille Aimée, a young jazz singer whose voice, upon discovering it, feels like a real discovery. And while we're on the topic of love stories, this season, Jazz at Lincoln Center and musical theater are having quite a romance: "After Midnight," a show first developed at City Center in their "Encores" program, is a hit on Broadway. Depending on its reception, "A Bed and a Chair" could follow the same path."

http://online.wsj.com/news/articles/SB10001424052702303789604579200241648146008?KEYWORDS=sondheim

ROAD TRIP NEW ENGLAND

We rented a car and drove to Lenox, Massachusetts where we stayed in the Garden Gables Inn. Lenox is the home of Tanglewood Music Center which is the summer home of the Boston Symphony Orchestra.  Stockbridge, Massachusetts, immediately adjacent to Lenox, was the home of Norman Rockwell.

http://www.gardengablesinn.com

We drove the following day to Millbrook, New York and the Millbrook Inn.

http://www.themillbrookinn.com

Both were great inns, the weather was beautiful, and we saw the last of the autumn leaves.

While in Millbrook we ate at the Serevan Restaurant.  It has earned a 28 by Zagat!

http://serevan.com

TOP OF THE ROCK

We visited the top of the main building of Rockefeller Center.  While there we saw the recently arrived Christmas Tree for Rockefeller Plaza.





LINCOLN CENTER

The Allen Room
Ladies Sing the Blues

Vocalists Catherine Russell, Brianna Thomas,and Charenee Wade will channel the independent, liberated spirits, and pioneering vocalizations of 1920s blues divas Bessie Smith ("the Empress of the Blues"), Mamie Smith ("the Queen of the Blues"), Ma Rainey ("the Mother of the Blues"), and of the legendary icon of stage and film, Ethel Waters. Featuring arrangements of this era, pianist Mark Shane takes the reins as Music Director, enlivening this important strain of American music and demonstrating the ageless relevance of this century-old transcendence of love's follies through innuendo, revelation, and stomping the blues away. These performances also feature trumpeter Jon-Erik Kellso, saxophonist and clarinetist Mark Lopeman, trombonist Harvey Tibbs, guitarist Matt Munisteri, bassist Tal Ronen, and drummer Mark McLean.

LECTURE

Metropolitan Museum of Art

Rubens

Jerrilynn Dodds, Dean, Sarah Lawrence College.

The Baroque period yielded some of the most vital and brilliant artists of all time. Opulent courts, powerful patrons, colliding cultures, strengthening religions, and increasingly complex politics provided the backdrop for painting to become a potent expression of the moment. This series explores a work from the Met’s collection by each of three monumental figures of this remarkable age—Caravaggio, Velázquez, and Rubens. From different corners of Europe, these great masters provide three different interpretations of Baroque art.

LINCOLN CENTER

Koch Theater
American Ballet Theater

LES SYLPHIDES
Choreography by Michel Fokine
Music by Frédéric Chopin
Amid a moon-drenched forest glade, a romantic reverie springs from the sublime music of Chopin to evoke an image of classical beauty in its most ethereal form. If Fokine had never choreographed another step, this ballet would have established him as a genius of dance.

THE MOOR’S PAVANE
Choreography by José Limón
Music by Henry Purcell
Limón's masterwork beautifully distills in one act the passion and dramatic arc of Shakespeare's Othello. Performed to a stately Renaissance court dance, this psychological thriller reaches its heartbreaking climax as the noble Othello succumbs to Iago's treachery.

GONG
Choreography by Mark Morris
Music by Colin McPhee
Suffused with orientalism, Mark Morris’ Gong playfully melds modern and classical dance, gamelan-inspired music, and Isaac Mizrahi’s rainbow-hued costumes into a kaleidoscope of innovative movement that is both tongue-in-cheek and grandly serious.

CONCERT

Carnegie Hall
Andras Schiff - Piano

• Bach - Goldberg Variations, BWV 988
• Beethoven - Thirty-Three Variations on a Waltz by Diabelli, Op. 120

"András Schiff would make Bach proud," proclaimed New York magazine of one of his recent performances. In fact, "there is nothing more reliable in the world of classical music today than pianist András Schiff playing Bach" (The New York Times). The peerless pianist comes to Carnegie Hall to perform one of the composer’s most beloved series of keyboard works, theGoldberg Variations, as well as its counterpart from the Classical period, Beethoven’s Diabelli Variations.

JOHANN SEBASTIAN BACH  Goldberg Variations, BWV 988

The Goldberg Variations is a monumental work, displaying superior compositional craft through a tight-knit formal framework. Every third variation is a canon at a progressively larger interval: Variation 3 at the unison, Variation 6 at the second, Variation 9 at the third, and so on. Since Bach composed the work for harpsichord, these knotty variations are usually written for two separate manuals on the instrument, thereby necessitating much hand-crossing and overlapping when played on the modern piano.

LUDWIG VAN BEETHOVEN  Thirty-Three Variations on a Waltz by Diabelli, Op. 120

In 1819, publisher Anton Diabelli asked several Austro-Hungarian composers to pen one or two variations on a waltz that he had written. Beethoven boorishly declined, commenting that the waltz was nothing more than a simplistic stringing-together of clichés. Yet he must have recognized its potential for adaptation when he returned to the waltz three years later, planning to write a handful of variations but ending up with no fewer than 33. The flabbergasted Diabelli decided to publish the set on its own, declaring it "a great and important masterpiece worthy to be ranked with the imperishable creations of the Classics."

http://www.youtube.com/watch?feature=player_embedded&v=3nwoWiR4Z-Y

https://www.youtube.com/watch?v=SNWOhm5iXxs

Here Schiff plays Bach.  The Goldberg Variations lasted one hour and twenty minutes long!  Then he played the Beethoven which also lasted over an hour!

His one encore lasted fifteen minutes!

The guy can memorize and he likes to play!

The concert was a tour de force by both the composers and the performer.