« February 2008 | Main | April 2008 »

March 2008

Wednesday, 26 March 2008

Where I *won't* be Thursday night

On Saturday I posted information about a pre-performance discussion at the Harris Theater for Music and Dance in Millennium Park that I was to have on Thursday, March 27, with Jim Vincent, artistic director of Hubbard Street Dance Chicago. Billed as Beyond the Stage: Musical Influences, Jim and I were to talk about the role that music plays in the creation of new dance works.

That program, I learned today, has been cancelled. My guess is that HSDC realized that charging (and charging a not insignificant amount) for this program presented marketing and attendance problems.

In my experience, many more people would like to attend a good free discussion than pay a premium to have that discussion include wine, cheese, and even real food.

Of course what people really like the most, as the Chicago Symphony Orchestra's MusicNOW series has demonstrated, is free food and drink after a concert with no discussion at all.

I'll still be going to the Hubbard Street performances themselves this week and next.

Tuesday, 25 March 2008

Critical Thinking Playlist -- 24 March: Music for "Spring"

My Monday night Critical Thinking this week on 98.7WFMT Radio and wfmt.com was a disc program hopefully entitled Music for "Spring."

Herewith the playlist:


Barry_sisters"Alevai Alevai" -- The Barry Sisters (at left) with Moishe Oysher

"Everything's Coming Up Roses" -- Ethel Merman, Gypsy, Original Cast Album

Adagio, J.S. Bach, Violin Sonata no. 1 in G minor, BWV 1001 -- Nathan Cole, Rapid Approach

"Let's Fall in Love" -- Bobby Short, Speaking of Love

"It's a Perfect Relationship" -- Judy Holliday, Bells Are Ringing, Original Cast Album

"My Baby Just Cares for Me" -- Nina Simone, Little Girl Blue

"Small Talk" -- John Raitt and Janis Paige, The Pajama Game, Original Cast Album

"The Rain in Spain" -- Rex Harrison, Julie Andrews, Robert Coote, et al., My Fair Lady, Original Cast Album

"Look to the Rainbow" -- Ella Logan, Donald Richards, Lyn Murray Singers, Finian's Rainbow, Original Cast Album

"House of Cards" -- Radiohead, In Rainbows

"You and I" -- Barbara Cook, As of Today

"Mi Buenos Aires querido" -- Carlos Gardel

"Manhattan" -- Bobby Short, Songs by Bobby Short

"Here Comes the Sun" -- George Harrison, Abbey Road

Monday, 24 March 2008

OK, really, really a lot more . . .

We're at 3,096 late this afternoon.

DidonatojoyceI think I better head off to Joyce DiDonato's Classical Action and AIDS Foundation of Chicago benefit house concert!

OK, a lot more . . .

We're at 1,423 visitors in less than two hours' time.

Maybe everyone will show up at the Hubbard Street pre-performance discussion on Thursday night . . . .

I guess he has more readers than I do . . .

CartoonandrewsullivanWeblog pioneer and political commentator Andrew Sullivan posted my piece on Barack Obama, Rev. Wright, and the South Side of Chicago on his well-trafficked website, The Daily Dish.

Andrew posted the piece at 9:34 Chicago time. Within an hour I had more than 380 visitors.

Thanks, Andrew! I'm looking forward to their comments on Alfred Brendel and Kissin!

Saturday, 22 March 2008

Where I'll be Thursday night

Note that on Wednesday I learned that the Thursday night discussion has been cancelled. The dance performances go on. See you there!


Beyond_the_stageThis Thursday evening, March 27, as a part of Hubbard Street Dance Chicago's spring (someone said that it is spring now, yes?) season, I will be having a pre-performance discussion at the Harris Theater for Music and Dance in Millennium Park with Jim Vincent, the company's highly articulate artistic director. Billed as Beyond the Stage: Musical Influences, Jim and I will talk about the role that music plays in the creation of new dance works.

The performances of Program 1 (March 26-30) include the world première of HSDC dancer Alejandro Cerrudo's Extremely Close, with piano solos by Philip Glass and Dustin O’Halloran, and reprises of Toru Shimazaki's Bardo, set to music by Dead Can Dance, and Jim's own 2002 counter/part, which uses sections from Bach's Brandenburg Concertos and was also performed on the stage of Orchestra Hall with the Chicago Symphony Orchestra playing live under Pinchas Zukerman on CSO subscription concerts in 2004.

Program 2, the following week (April 1-5), includes Alejandro's delightful Lickety-Split, made to songs by Devendra Banhart, and another world première, this by HSDC artistic associate Lucas Crandall, The Set, also Bach-inspired, so there should be plenty for us to talk about.

The conversation gets going at 6:30 p.m. in the Donor Room on Level 2 and wine is promised. The performance itself starts at 7:30 p.m. For information on this event or to purchase tickets (it's a paid program, sigh), call 312.850.9744 or visit HSDC's ticketing page.

(And thanks to Li'l B for the shout out in next week's TOC and at timeoutchicago.com.

Local boy makes . . . .

Scott_simonLast week, Time Out Chicago ran a nice interview with NPR's Scott Simon to mark the publication of his new novel about Chicago neighborhoods and Chicago politics.

Here is the full version of the letter I wrote in response to this piece.   It ran this week in slightly edited form under the headline "Give a guy some credit."

----------------

I can't speak to the quality or content of Scott Simon's new novel Windy City.  But Alicia Eler's profile of Simon [Books, TOC 159] certainly shortchanges his Chicago background.  Simon not only "served as NPR's Chicago bureau chief from 1977 to 1985," he was born in Chicago to local radio (WJJD) personality and comedian Ernie Simon and actress Patricia Lyons, grew up here for a number of years, and remained close to his mother (his father died young) and his step-father, Chicago book dealer, Lincoln scholar, and Nixon friend Ralph G. Newman.  Simon came back to Chicago in 1974 to work on an early WTTW11 nightly news program and later opened the NPR Chicago bureau with Jonathan "Smokey" Baer. Simon's 2000 Home and Away: Memoirs of a Fan, deals with his parents and Chicago sports and politics.

Kissin -- at 36

Here is the full text of my Saturday Chicago Sun-Times and suntimes.com review of Thursday's first performance of this week's Chicago Symphony Orchestra subscription concerts with Evgeny Kissin as soloist and Charles Dutoit conducting.

--------------

HIGHLY RECOMMENDED

Repeated Saturday March 22 at 8 p.m.

Kissin_in_thought_2Pianist Evgeny Kissin has made regular visits to Chicago as soloist and recitalist for 18 years now, exactly half of his life, and the full-plus houses he draws (his recitals require added stage seats) attest to the fascination with both his virtuosity and eccentricity. What can he not play? And, with a man who plays encores even after concertos, will he ever stop?

Kissin_at_12_2Perhaps more seriously, from his legendary Moscow debut at 12, there have been the questions: Is he fire or ice? Fingers, head or heart? Certainly many a performance has left both jaws dropping and musical depths unexplored.

Having already made it clear that he has survived the usual prodigy burnout cutoff, Kissin showed Thursday night at Orchestra Hall that, at least in certain repertory, he has also gained authority. His traversal of the First Brahms Concerto in D minor, Op. 15, with the Chicago Symphony Orchestra never depended on effects and might even have shown restraint, especially in the rich lode of the Adagio. It was as if the shaggy-headed Russian were saying, "I know that you came here to see me, but I came here to play Brahms."

Drawing fervent applause from audience and orchestra members alike, Kissin followed the 48-minute behemoth with two signature encores: one of the finest performances this side of Sviatoslav Richter of Chopin's Scherzo No. 2 in B-flat minor, Op. 31, itself a 10-minute work, and the gentle lullaby of the Brahms Waltz in A-Flat Major, Op. 39, No. 15.

Dutoit5_2Guest conductor Charles Dutoit knows many things and one of them is how to provide telepathic support to a soloist. The orchestra as a whole and section soloists were full partners in the concerto's success.


Stravinskystravinsky_2His programming is also always compelling, even if his skills with metrical detail could not quite carry Stravinsky's fascinating neo-classical experiment, the 1940 Symphony in C, written for the CSO's 50th anniversary. Rimsky-Korsakov's 1888 Russian Easter Overture, which had not been played downtown by the CSO in more than 50 years, saluted the season on whatever calendar with appropriate colors and joy.

Easterprocessionthb

Wednesday, 19 March 2008

Obama and Rev. Wright: A view from the South Side of Chicago

Department of very unexpected things:

I received a call yesterday just before noon from E.J. Kessler, whom I knew a bit when I used to write for, and she used to be an editor of, the New York-based (Jewish) Forward, asking me if I might be able to quickly turn around an op-ed piece on the South Side political context of Barack Obama's connections with his former pastor and Obama's Philadelphia speech, then just concluded, for her current employer -- Rupert Murdoch's New York Post.

After assuring her that my views of Obama, race, and politics might not be very Murdochian, Eve underscored that the Post had endorsed Obama in the New York State Democratic Primary last month. Once it was clear that we were thinking in the same direction about what the piece should be (and after I managed to get an escorted trip to a Chicago Police Department station when I set out for a WFMT lunch meeting without carrying either my driver's license or our insurance card), I banged the column out on very short deadline only to learn, such is the newspaper business, that it would have to be bumped by a day and might not even run at all. Today I learned that it indeed will not run, other events and reports outpacing it, and so, after easily agreeing on a "kill fee" and telephonic smiles of reacquaintance all around, I figured I might as well just post it here.

Bear in mind that it was written for, I must "ahem" again, the New York Post.

----------------------------------------------

Obama and Rev. Wright: A view from the South Side of Chicago

Obamabarack_2By spending most of his adult life on the South Side of Chicago, and launching his careers as activist and politician there, Barack Obama has benefited from an unusual political and social base that is perhaps hard for the rest of the country to fully understand or relate to.

The area is both patchwork and blend of hardscrabble inner-city Black neighborhoods, well-to-do enclaves of the city’s Black elite, and the racially-mixed Hyde Park-Kenwood neighborhood with its strong Jewish presence where Obama and his family make their home. (The Obamas much-discussed house and lot are just across the street from my synagogue.) But it is much less a cauldron of conflict than an exceptional place of political cooperation where certain pacts and understandings were reached long ago that make for bedfellows that might seem strange to other parts of the country or the East Coast commentariat.

Hpkarmap1The South Side is home to two generations of Jesse Jacksons, the younger a Congressman with his own power base among those born after the Civil Rights Movement. Democrat Barbara Flynn Currie, majority leader of the Illinois General Assembly, is a white woman representing a nearly all-Black district. University of Chicago conservative libertarian legal guru Richard Epstein lives just a few doors from Nation of Islam leader Louis Farrakhan. Education advocate Bill Ayers, an unapologetic member of the '60's violence-prone Weather Underground, sent his children to the university's private schools while some other, less grandiose, white activists support the more embattled public education system. The area's other Congressman, Bobby Rush, a former leader of the Black Panther Party, is seen now as too timid and low profile by many liberals.

Despres2_050922despres200Much of the unique entente in the area stems from locally legendary leaders who have moved easily across racial and religious divides and who have been direct or indirect influences on Obama. Leon M. Despres, a Jew, who for twenty years led -- and sometimes was -- the City Council opposition to the late Mayor Richard J. Daley, father of the current mayor, recently turned 100 and remains an active and respected figure.

Washington2Chicago's first Black Mayor, Harold Washington, who died in office 20 years ago after being elected decisively to a second term, made it clear to Black audiences that he was a supporter of the State of Israel and to Jewish audiences that he could reject specific statements by Minister Farrakhan without denouncing someone within his own community. South Siders are used to straight talk.

MikvaThe man who introduced Obama to many South Side figures is Abner J. Mikva, also Jewish, who once represented the area in the State Legislature and then in Congress before shifting to a suburban district after redistricting, serving on and as Chief Judge of the U.S. Court of Appeals for the D.C. Circuit, and putting in time as Bill Clinton’s White House counsel.

This is the sort of area where there has been more comment over the years on the number of expensive cars in the parking lots and power couples in the pews of Rev. Jeremiah Wright’s Trinity United Church of Christ, a good four miles south of the University of Chicago Law School where Obama used to teach, than on the inflamed rhetoric seen in selected video snatches of Wright on YouTube.

These are not cases of winking and nudging, of trying to hide divisions or pockets of extreme beliefs. Rather this is an area that has understood "righteous anger" in the Black community as well as the ongoing work of conciliation and community advancement because these are issues and people encountering each other, however imperfectly, every day and not just as hypotheticals.

Obama would not be the first figure from such an area or background to confuse understandings among people who have truly spent time together in cooperation and debate with the harsh realities of suspicion and misunderstanding in the larger worlds of politics and national life. But he also can draw on these experiences as Massachusetts Governor and South Side Chicago native Deval Patrick has done or as New York’s new Governor David A. Paterson is doing. For these are all people of a generation that knows that it is a mistake either to play race as a game or to ignore race if one seeks a candid conversation with the electorate and would confront this country’s complex racial history with seriousness.

Obamawright1_61_obama_wright_2For this South Side native and Obama supporter, it is a perhaps pleasant irony that the repeated airing of video soundbites of Rev. Wright forced Obama away from his own slide into empty catchphrases and into delivering one of the most substantive speeches of his still-young career. By returning to the bases of his adopted home town and communities he can return to the unique strengths he has drawn from them -- an ability to unite varied and even disparate peoples in a common cause and a seriousness about articulating the problems this country faces and his vision for confronting them.

With the Philadelphia speech -- by way of Chicago -- he has begun to do this.
---------------------
Andrew Patner, author of I.F. Stone: A Portrait, covered the rise and election of Harold Washington as Chicago’s first Black mayor in the early 1980s for Chicago magazine.

Onegin -- da da da 2

Here is my Wednesday Chicago Sun-Times and suntimes.com review of Monday's first performance of Eugene Onegin with Mariusz Kwiecien in the title role at Lyric Opera of Chicago.

----------------------------------

Sub clicks as whole team excels in 'Onegin'

Lyric builds on hot start

HIGHLY RECOMMENDED

Through March 30

In launching its last major cast change of the season Monday night, Lyric Opera of Chicago also revealed that one of its best productions of its 2007-2008 season is running now on even higher octane.

Tchaikovsky's Eugene Onegin opened March 1 at the Civic Opera House with Dmitri Hvorostovsky in the title role. With the Siberian star baritone cutting back on what has been one of his signature roles, all eyes were on his young Polish replacement, Mariusz Kwiecien, who's singing the last five performances.

MarkwiecAt 35, Kwiecin (left) is a confident stage presence, striking in appearance and with a very attractive lyric baritone. He stepped comfortably into Robert Carsen’s production and had the full support of Hvorostovsky in making the transition.

But the big news now is how much deeper the whole ensemble -- from music director Sir Andrew Davis and his orchestra to the last member of the Lyric Chorus -- is going, even considering their excellent launch.

Soprano Dina Kuzentsova, who warmed up slowly to the white-hot intensity of the opera's final scene opening night, now is a brilliant Tatyana from her first entrance. She takes the famous Act One Letter Scene by the throat and as a singer and actress never lets it go physically, vocally, or emotionally.

Similarly, mezzo Nino Surguladze is now wholly convincing as Tatyana's sister Olga whose social gaiety sets off one of the many tragedies in Alexander Pushkin’s story of failures in human self-understanding. Although a stage announcement noted that tenor Frank Lopardo was singing the role of the ill-fated poet Lensky through a cold, his performance throughout the evening, including in the great aria "Kuda, kuda," was a tour de force.

English mezzo Catherine Wyn-Rogers, who had missed opening night due to illness, brought a sense of maturity to the confidante Filipyevna. And Vitalij Kowalyov, already fully-centered at the opening, held the audience in his hand during Prince Gremin's Act Three aria.

Four performances remain. What a close to the Lyric season!

The Sound from Here: Podcast

Blog powered by TypePad