On the Road: Thoughts from the Tanglewood Lawn

Celebration of Stephen Sondheim Music

www.bso.org/tanglewood

August 18, 2022

by Erica Schutz

Photo courtesy BSO.ORG/TANGLEWOOD

Upon arrival to Tanglewood's grounds, the parking attendants were warm and kind with big smiles. Getting out of my car, we observed many people serving a kind of tailgate picnic. Others were walking in quite early, as I was. It's rare to experience an all-Stephen Sondheim concert.

Walking straight to the tix booth for directions I observed the press porch. The young attendants pointed the way and made me, what I would call a “hall pass” to bring until I got the real thing. The porch was actually an old grey house surrounded by lovely little hills of grass. Also, the Pepperidge Farm cookies were welcome goodies.

I noticed a father and small son playing frisbee in a large section of the lawns that was unoccupied. They were in matching shirts and having a great time. This is not unusual, as generations mix in joyful activities, pre-concert.

Many parties had set up their lawn seating areas further away from the larger group at the front. Some had basic picnic blanket arrangements, others dined elegantly, defining their areas as if the lawn created small living rooms complete with coffee table, throw pillows, flowers, and candelabra. Everyone appeared well prepared to be comfortable in their own ways.

I chose a central spot on the green closer to the shed and set up my own space. The people around welcomed me and offered to share snacks and wine. I declined but was glad to feel part of the group. I've heard that Tanglewood audience members are a pleasant and generous group. It's true.

I settled in to enjoy my picnic that I had brought and review the lengthy playbill. I was about an hour early, but it seemed as if little time had passed before the bell rang to announce the concert was about to begin. The weather cooperated, and the camaraderie of concert goers was evident. The lights dimmed and the digital screens stopped looping the commercial ads. The live feed of the stage filled the screen, and the applause began for the entering musicians. Even though we couldn’t see the actual stage, the lawn audience, which included me, behaves as if we were in the shed.

Photo courtesy of BSO.ORG/TANGLEWOOD

The music began. It became clear that most people around me were huge fans of Sondheim. Many heads bobbed along to the rhythm and a few danced in their seats. Partway through the first section of the program, an older gent next to me commented to his group that he didn’t know any of the music that he just heard. However, when intermission came, he began humming and singing "A Weekend in the Country" over and over. Apparently, he had been caught by a Sondheim earworm for sure! This lasted through intermission. 

Children of all ages were snuggled on laps, had seats of their own, and I noticed a few had little camp beds set up in wagons, or strollers. There were a few small playpens, too. To my surprise, I never heard crying or fussing the entire night.

The concert was amazing, as to be expected. The audience on the lawn stayed to applaud until the last moment. I was right there with them. We made for the gates together, but there was room for all and only a short wait to cross the street to reach the parking lots.   The environs had a different feeling that night. It could be I was just paying more attention. It was a joyous energy. I found myself singing as I drove, thinking about all the friendly people I had met and the experience we shared together listening to Sondheim. 

ON THE ROAD: Berkshire Highlights, Summer 2022

by Shera Cohen

Jacob's Pillow, Becket, MA

www.jacobspillow.org

We almost missed Cleo Parker Robinson Dance Ensemble due to an error on our clock. We made it from Lenox to Becket in record time, arriving just as a young intern musician happened to be parked in a white golf cart. We are finding more and more mini carts on the campuses of numerous performing art venues in the Berkshires. 

Cleo Parker Robinson brought her 14 or so young, accomplished, professional dancers to present modern, folk, ballet, and jazz footwork. Robinson narrated each piece prior to each to performance. In hiring dance troupes for its summer season, the Pillow has nothing but the best. Parker Robinson's company recently celebrated its 50th anniversary.

For those in the dance field, the Pillow offered classes, community workshops, annual art exhibits in the barn, and Pillowtalk; the latter usually given by Pillow dancers or dance historians. Nearly all of these ancillary programs are free.

Shakespeare & Company, Lenox, MA

www.shakespeare.org

"Measure for Measure"

"Hymn" was a study in character of two men who, later in life, discover that they are half-brothers. That was not a spoiler, as this knowledge comes early in the play. Not surprisingly, the men first met at their father's funeral. They are complete opposites in beliefs, demeanor, family issues, and dreams. Director Regge Life, kept the play and the actors' bodies and minds working constantly. Dance and song spoke to camaraderie as well as feigned joy between the brothers. The audience could see the end coming. This was the only way to properly complete the play. 

Two important facts to know about Shakespeare & Company: the campus has many theatres, both indoors and outdoors. Check the location before you go. Also, the venue's title might be confusing since only 50% of the plays are Shakespearian; the balance are relatively new works. 

"Hymn" finished its run  on August 28th. "Measure for Measure" runs through September 18th, and "Golden Leaf Rag Time Blues" will be produced September 23-October 30, 2022.

TurnPark, West Stockbridge

www.turnpark.com

TurnPark, perhaps the newest venue on my Berkshire journey, is a mecca for sculpture. Always on the lookout for new art venues in the Berkshires, two years ago I discovered TurnPark by chance. My Plus 1 friend and I traversed the uneven ground and rocks high and low. It's a hiker's dream location. TurnPark's indoor exhibitions of art and sculpture are often unique. A lovely Russian couple showed us the terrain and the many professional huge sculpture pieces throughout the park. It was happenstance that their 16-acre location was on Moscow Road, West Stockbridge. 

No longer in its infancy, TurnPark has coupled architecture studies, performances in numerous genres, and nature. What was once a marble quarry has been recreated into a sculpture park. A natural rock formation on several layers of the ground looks as if it was already designed as seats in an ancient Roman theatre. TurnPark has grown incredibly since my last visit, hosting performances such as modern dance, stand-up comedy, poetry readings, as well as a Ukraine Fundraiser Event.

TurnPark's current exhibit is "New Works - New Walls," through October 31, 2022.

Norman Rockwell Museum, Stockbridge, MA

www.nrm.org

Illustrating Race through October 22, 2022

"Love is Wise"

The exhibit examines the role of published images in shaping attitudes toward race and culture. Over 300 artworks and objects produced from the late-18th century to today fill five exhibition rooms. The mission of the exhibit is to show the impact on public perception about race in the U.S. The exhibition explores stereotypical racial representations that have been imprinted through mass publication. It culminates with the creative accomplishments of contemporary artists and publishers who have shifted perspectives through the creation of positive, inclusive works of art, emphasizing equity for all.

Divided into three segments, the first is Historical Perspectives, which examines the history of racial stereotypes in illustration. The power of the images shaped opinions of many White Americans not only against African-Americans, but also Native, Asian who did not fit into the norm of the 18th - early 20th centuries.

The second section looks at the Harlem Renaissance through WWII. The study from Jim Crow laws to Black Pride to The Great Depression to NAACP. Oftentimes specially published magazines printed minority issues for all to read. Women became a large and intelligent force to recon with. 

The final selections of art, posters, images, and cartoons focuses on the 1950's to the present, including Civil Rights, racial unrest, emphasis of mass media. Coupled with these derogatory visual statements is the effort of noted illustrators who have worked to push a sense of hope and cultural pride for the next generation.

Note: Some text excerpts from NRM promotional material.

Clark Art Institute, Williamstown, MA

www.clarkart.edu

Rodin in the U.S. through August 18, 2022

Who do you think is the most well-known sculptor of the ages? Probably Auguste Rodin (1840-1917), creator of his famous piece of art -- The Thinker. 

Rodin is considered the most innovative, influential, celebrated, and controversial sculptors of the late 19th/early 20th centuries. For 20 years, he worked for jewelers and masons. He honed his skill as a modeler of clay in other sculptors’ studios, taking evening art classes, and eventually setting up his own studio where he worked from live models. Rodin was interested in expressing human emotion, celebrating classical beauty of real human bodies. Some works expressed sexuality with an unapologetic frankness that was considered scandalous.

Rodin’s way of making sculpture was a blend of traditional and innovative techniques. He began by modeling clay, wax, or plaster to create three-dimensional works. Assistants then used the model to produce a mold, which would be cast in plaster. Rodin could produce multiples and even cut the plaster apart, recombining hands, legs, torsos, and heads to alter a composition, to form a completely new work. 

Surprisingly to me, Rodin never carved marble himself, but hired artisans who executed the carving.  He oversaw every aspect of the transition from clay model or plaster cast to stone. The copies in marble are not identical; the composition remains the same, but details differ, depending on the carver and on the shape of the marble block used.

Note: Some text excerpts from Clark promotion material.

Berkshire Quick-Takes

Artweek Berkshires, https://berkshires.org/artweek-berkshires, throughout the Berkshires, Annual, free events show off works Berkshire artists from 9/15-25.

Berkshire libraries: offer discounted tix to just about everything in the arts; some for residents, some for visitors. 

Berkshire Scenic Railroad, Lenox, www.berkshiretrains.org, takes passengers on a short, fun ride in an antique RR car, starts in Lenox.

Chesterwood

Chesterwood, Stockbridge, www.chesterwood.org, 2022 marks the 100th anniversary of the
 Lincoln Memorial by Daniel Chester French.

HighLawn Dairy, Lee, www.highlawnfarm.com, just up the street from Big Y, are calves, cows & fresh milk. Demos are offered to groups.

The Pillow's Pillowtalk, Becket, www.jacobspillow.org, enjoy free lectures by dancers and dance historians in the rustic Art Gallery Barn.

Red Lion Inn, Stockbridge, www.redlioninn.com, reopened, the ground-floor Lion's Den musicians perform for the local & guests. 

Tanglewood, Lenox, www.bso.org/tanglewood, evening concerts are now essentially bugless. I don't know what changed, but I'm happy. 

Williams College Art Museum, Williamstown, https://artmuseum.williams.edu, amazing college facility, free, open all year to the general public.

REVIEW: Jacob’s Pillow, "Miami City Ballet"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through August 28, 2022

by Josephine Sarnelli

Photo by Christopher Duggan

The return of the Miami City Ballet brought with it a debut of the Ted Shawn Theatre’s new
orchestra pit.   In addition to offering a live orchestra for the first time at the Pillow, it also allowed for Balanchine’s 1934 signature work Serenade to be presented - which can only be performed with live music per the licensing agreement with the Balanchine Trust.  The newly enlarged stage accommodated the 26 dancers in this large production.

The program was a study of four very different choreographers.  Whereas Balanchine’s piece has remained ageless, the opening dance Diversion of Angels from 1948 by Martha Graham clearly looked dated.  The repetitive flexed foot leaps and fluttering hands, once cutting edge in the dance world, were tiring despite being performed to perfection.  The three couples, each embodying a different aspect of love – young and flirtatious, romantic and passionate, mature and enduring, worked well together.  The novel costuming of a legged skirt provided for fluidness and athleticism, particularly for Taylor Naturkas as young love.

The most moving work in the program was the world premiere of Geta, dedicated and named for a beloved, recently deceased instructor at the Miami City Ballet School.  Choreographed to Jacques Brel’s “Ne Me Quitta Pas” (Don’t Leave Me), the strong movements were exquisitely performed by Renan Cerdeiro.  His connection with the audience amplified the emotion of the piece.   The costuming of a long tunic over a nude unitard looked awkward and did not enhance the otherwise perfect routine.

Antique Epigraphs, a 1984 ballet by Jerome Robbins, is so named because it is performed to Claude Debussy’s suite “Six Ėpigraphs Antiques.”  The seventh section was a lovely flute solo by Linda Toote entitled “Syrinx.”  Performed en pointe by eight women invoking Greek goddesses, the fragility of the dancers might be discarded as an obsolete representation of femininity in today’s world.  However, the ability of each dancer to showcase her individuality as well as the group’s collaboration and support in partnering as duets and trios speaks of the modern woman.  The developpés were striking; the soft movements of their arms hypnotic.  Of particular note was their directional ability to have the audience focus from one side of the stage to another simply by turning their gaze in unison.

The finale Serenade was well chosen for the many traditionalists who enjoy classical Balanchine. The choreography, set to Peter Tchaikovsky’s Serenade for Strings, includes cabrioles, grand jetés and rond de jambe en l’air, which were all beautifully executed by the troupe.  The plot literally evolved during Balanchine’s rehearsals, who incorporated a late arrival of a student and the fall of another directly into the final chorography.  However, it takes a strange turn midway through when a “dark angel” enters and draws to a sad ending. The conductor joined the dancers on stage for a well-deserved standing ovation.

The Miami City Ballet brought to an end the 90th season of Jacob’s Pillow Dance Festival.  It was a spectacular year and we so look forward to the 91st!        

 

  

REVIEW: Boston Symphony Orchestra, "Shostakovich/Dvorak/Borodin"

Tanglewood, Lenox, MA 

www.bso.org/tanglewood

August 26, 2022 

by Michael J. Moran 

On the calm evening of an adventurous weather day in the Berkshires, BSO Assistant Conductor Anna Rakitina brought an equally adventurous program to the Koussevitzky Music Shed at Tanglewood that reflected both her Ukrainian-Russian roots and her canny programming skills. 

After getting listeners in the palm of her hand with one of Dmitri Shostakovich’s catchiest, most ingratiating creations, the “Waltz No. 2 from Suite for Variety Orchestra,” played with jazzy flair by a swinging BSO, Rakitina welcomed to the stage charismatic (and frequent Tanglewood guest) violinist Gil Shaham for Antonin Dvorak’s 1879 violin concerto. While overshadowed by the contemporaneous Brahms and Tchaikovsky violin concertos, all three movements of Dvorak’s concerto display his endless melodic invention, the spirit of Czech folk music, and fierce technical challenges, which Shaham rendered with elegance, warmth, and exhilarating proficiency, backed luxuriously by conductor and orchestra.   

Gil Shaham & Anna Rakitina

But the heart of this program was, astonishingly, the BSO’s first-ever performance of Shostakovich’s1929 third symphony, “The First of May.” Written at age 23 as an experiment in which “not a single theme would be repeated,” this kaleidoscopic single-movement half-hour score in four continuous sections echoed the turmoil and excitement of early Soviet culture. Careening between lush post-romanticism and hyperactive, often satirical dissonance, the symphony’s brash energy was absorbingly captured by Rakitina and the BSO, especially the taxing demands on the brass and percussion sections, and the Tanglewood Festival Chorus, who sang-shouted Semyon Kirsanov’s closing hymn to the Soviet May Day holiday with gusto. 

Keeping the Chorus, prepared by their conductor, James Burton, on stage, Rakitina ended the concert in as crowd-pleasing a way as she began it, with an electrifying account of the “Polovtsian Dances” from Alexander Borodin’s 1890-premiered opera “Prince Igor.” Often presented in concert without chorus, these colorfully orchestrated mini-masterpieces gain ravishing colors from human voices, which kept participants and spectators alike on the edge of their seats. Projected English translations (also helpful in the Shostakovich) even showed a resemblance between some Borodin lyrics and their adaptation in the 1953 Broadway musical “Kismet” as “Stranger in Paradise,” which a few concertgoers of a certain age could be heard singing. 

Her modest yet exuberant stage presence, ability to inspire musicians, and talent for pleasing while educating audiences all promise a bright musical future for Maestra Anna Rakitina.    

REVIEW: Boston Symphony Orchestra, "Brahms/Garrick Ohlsson"

Tanglewood, Lenox, MA 

www.bso.org/tanglewood

August 16, 18, 23 & 25, 2022 

by Michael J. Moran 

Garrick Ohlsson

Towering elder statesman of the piano Garrick Ohlsson is not one to shrink from a challenge.
So it was no surprise that in four two-hour concerts over nine days he performed the complete works for solo piano by Johannes Brahms in Tanglewood’s acoustically ideal Ozawa Hall. 

Although Brahms wrote solo piano music throughout his 40-year career, his works in that genre tended to get shorter over time, from his three early sonatas (1852-53) through five sets of variations on a theme (1854-63) to four late sets of miniatures (1892-93). But as Ohlsson, who was first drawn to Brahms at age nine, told the Berkshire Edge, he finds a “richness of texture” throughout these works, often achieved with “not that many notes.”   

By mixing these forms from all periods of Brahms’ life in each concert, Ohlsson highlighted their wide variety of tone, mood, and impact. The first program opened with eight short pieces, Opus 76, dating from his middle period (1871-78) and each called either “Capriccio” (livelier) or “Intermezzo” (quieter) but distinctly individual in character. This program was completed by two early sets of variations, Opus 21 (1856-57), all unfailingly inventive and often surprising, and the even earlier “Four Ballades,” Opus 10 (1854), each somewhat longer and more dramatic than those in Opus 76.   

All “Seven Fantasies,” Op. 116 (1892) in the third concert were also called Capriccio or Intermezzo, but they revealed paradoxically greater simplicity and emotional depth than those in the Opus 76 set. The sprawling five movements of the third piano sonata on this program had by now been distilled into the bare essence of Brahms’s great ear for melody and classical balance. These two concerts also included some of his most passionate music in the “Two Rhapsodies,” Opus 79 (1879) and his most technically demanding in the Paganini variations (1862-63), whose two “books” of twelve variations each were split between the programs. 

Ohlsson’s energy and concentration never flagged, and he played every piece with the same effortless virtuosity and interpretive insight, exuding a contagious sense of joy. Each program featured as an encore one of the first ten of his twenty-one Hungarian Dances for piano four-hands that Brahms arranged for solo piano, allowing Ohlsson to close each leg of his marathon on a high-spirited, crowd-pleasing note.    

ON THE ROAD: Boston Symphony Orchestra, "A Week at Tanglewood"

Tanglewood, Lenox, MA

www.bso.org

August 19-23, 2022

by Shera Cohen

The numbers told the story of a single week enjoying the music of the Boston Symphony Orchestra (BSO) at Tanglewood. In the Spotlight sent seven of its reviewers to cover five concerts led by four conductors playing the works of eight composers bringing 28 pieces to life. This list omits the dozen+ pieces for "Remembering Stephen Sondheim" and 14+ selections by John Williams in Tanglewood's prestigious honor for the maestro's 90th Birthday Celebration.

Our head Classical Music Reviewer, Michael Moran, has covered each of the concerts in the Recital Series. Over the years, these music events have displayed the talents of world-renowned soloist or ensembles. Pianist Garrick Ohlsson took the Ozawa Hall stage most of the evenings; each concentrating heavily on Brahms. 

The passing of composer Stephen Sondheim this year has left so many memories, particularly his instantly identified style on Broadway. Sondheim's cadre of groundbreaking, distinct contributions of "Follies" and "Company" and organic perfection of shows like "A Little Night Music" and "Sweeney Todd" celebrated the legacy of a true musical luminary. Boston Pops leader Keith Lockhart, along with four vocalists, took his baton as one Sondheim classic flowed into another. (See full review HERE)

It was my turn at the computer, reviewing Tanglewood's John Williams 90th Birthday Celebration. I have attended many of the John Williams concerts, whether Mr. Williams is conducting his own music and/or music of other composers. This was the first time for me to see this master composure/conductor not lift a finger, that is until the finale of the concert. A beautiful evening for an extraordinary show, was complete with guest video salutes from Steven Spielberg, and others, and a chronological documentary of John Williams life. Every season Tanglewood schedules at least one "must see". This was it. [See full review HERE) 

Over the decades, I have encouraged several friends and acquaintances who think that they don't like Classical music to have a taste; return if they appreciate the program, decide to occasionally take another bite, or never return. For those in the latter category, so be it. I tried. The best way to sample the experience of Tanglewood, the sounds of dozens of professional musicians at their instruments, and the grandeur of the landscape is to attend a Saturday rehearsal at 10:30am (9:30am to hear the pre-rehearsal talk). Rehearsals are less expensive than the "real concert," whether you sit on the lawn or in the Shed. The musicians are dressed just as casually as the audience members. Oftentimes, the music piece is rehearsed straight through, and only afterward does the conductor point out corrections to perfect. Other times, the conductor starts and stops several times. Remember, this is a rehearsal for the musicians to "get it right". I find the start and stop method extremely educational. Although, I admit that I never hear errors.

Saturday rehearsals prepare the musicians for Sunday afternoon performances. The grounds are also open on Thursday and Friday mornings for rehearsals. Just walk in and sit on the lawn. On these mornings, usually rehearsals of Friday night's 8pm concert takes place. Recommend calling ahead.

Photo Courtesy of Itzhak Perlman Images

Nearly every Saturday evening and/or Sunday afternoon performance features a special guest(s) either at the podium or seated with instrument in hand or both. The glorious sounds from violinist Itzhak Perlman were on the bill. I can't believe that I just now typed that sentence. Perlman's name is synonymous with violin, of course. However, I was not familiar with German conductor Max Bruch. Perlman's interpretation of Bruch's Violin Concerto in G minor was tender and loving. I would have been happy listening for hours.

Preview: Music in Common, "Black Legacy Project"

Berkshire Community College, Pittsfield, MA

www.musicincommon.org/blacklp.html

September 23, 2022

Music in Common, a Berkshires-founded nonprofit that strengthens, empowers, and connects communities through the universal language of music, celebrates the one-year anniversary of the launch of The Black Legacy Project, a musical celebration of Black history to advance racial solidarity, equity, and belonging. The Black LP travels the country, bringing together Black and White artists and artists of all backgrounds to record present day interpretations of songs central to the Black American experience. 

Since the September 2021 launch, Music in Common has produced ongoing Black Legacy Project programming in the region including a Black LP concert at the Colonial Theatre, a series of film screenings throughout the county, and a week-long course at Berkshire School. The upcoming anniversary celebration includes a combination of all of these.

On Friday September 23 at 7:30PM, a Black LP concert featuring a host of local musicians including Rob Sanzone, Rufus Jones, Bryan House, Glori Wilder, Terry a la Berry, Olivia Davis, Liam Giszter, and Brianna Nicola

The event is free and open to all. Tickets can be reserved at eventbrite.com/e/405652967947.

Masks are required.