Author: Philip Gardner

  • @ The US Open Qualifers ~ 2024

    Bu

    Above: China’s Bu Yunchaokete 

    Tuesday August 20th, 2024 – Today, for the 25th summer, I made the trek out to Flushing to the US Open. For the first few years after moving to NYC in 1998, I would go to the main tournament once or twice a season. As that became increasingly expensive, even for a day pass, I started going to the qualifying matches. For several summers, this was perfect: as it was  free, I sometimes went three of the four days. The people who came to watch were true tennis fans; sometimes only 2 dozen or so people would be watching a given match. But then the NY Times wrote about the qualifiers as an inexpensive destination for a summer’s day, and each year the crowds grew, bolstered by parents dragging their kids and by large groups of youngsters from summer camps. 

    Nowadays the qualifying tournament is more like a big event where tennis matches are there to be watched if you’re interested. There’s lots of shopping and dining opportunities, and various entertainments for children. Crowds mill around; people will drop by to watch a few points in a match and then drift away.

    Today, I set out early but a delay on the #7 line caused me to arrive just as the first matches were starting. I picked the least crowded court and watched a match between Germany’s Eva Lys and the American-born Czech player Gabriela Knutson. Ms. Lys dominated the first set, but in the second, Ms. Knutson got her bearings and gave the German a run for her money, coming from behind while Lys had match-point within her grasp. The audience, which grew in size as the match became more heated, seemed vocally supportive of Ms. Knutson; but Ms. Lys prevailed. Highlights here.

    I then went over to Court 12 where the “match of the day” between China’s Bu Yunchaokete and Japan’s Yasutaka Uchiyama was soon to begin. Wei had urged me to check out his compatriot, Bu, and I’d seen and enjoyed the Japanese fellow at prior Opens.

    Bu has a cracking wallop of a serve, but it sometimes flew long, or went into the net. His shots in general showed blistering power, which Uchiyama could not always deal with. Bu took the first set, but Uchiyama stepped up his game in the second set, where Bu seemed in better control of his power, but Uchiyama had more answers. The set went to a tie-break, with Bu the victor. Watch highlights here

    Cerundolo bros jpg

    Above: the Cerundolo brothers, Francisco and Juan Manuel

    On the schedule I saw the name ‘Cerundolo’ but I could not imagine why the talented Argentine, Francisco Cerundolo, would have to qualify. I went to have a look, and found that Cisco has a kid brother: Juan Manuel.

    Today, Juan Manuel was facing a tall and lanky Brit: Billy Harris. Harris, who has a rather peculiar service motion, took the first set comfortably. But then Juan Manuel’s plucky determination took hold; he had some great shots in the second set, and the audience, seemingly intrigued by the David-and-Goliath situation, seemed to be urging him on. The final set could have gone either way, and while Harris won in the end, the Argentine played admirably and won new fans along the way. Highlights here.

    I headed for the train to Manhattan; weather-wise, this had been the most perfect day I’d ever spent at the Open. Thinking of all the players – renowned or forgotten – I’ve seen play there since 1998 (Kim Clijsters won my first-ever live US Open match!), I wondered if this might be my last trip out to Flushing. Time will tell.

    ~ Oberon

  • Pamela Coburn ~ Vier letzte Lieder

    Pamela coburn

    The American soprano Pamela Coburn (above) sings the Four Last Songs of Richard Strauss from a 1994 concert given by the Munich Radio Orchestra, with Roberto Abbado conducting.

    Watch and listen here.

    L'ormindo

    In 1982, I had the great pleasure of seeing Ms. Coburn in Beni Montresor’s gorgeous staging of Cavalli’s L’ORMINDO given by the Chamber Opera Theatre of New York. In the above production photo, Ronald Naldi is Ormindo and Ms. Coburn is Erisbe. Click on the photo to enlarge.

  • José Luis Luri ~ “Non t’amo piu”

    Luri

    José Luis Luri sings Tosti’s “Non t’amo piu” with Shlomo Rodríguez at the piano, from a recital given in 2019.  I came upon this voice by chance and was very taken with his lovely sound and style.  

    Watch and listen here.

    You can read about the tenor, a native of Alicante, and also about the pianist, in an article from 2022 here.

  • José Luis Luri ~ “Non t’amo piu”

    Luri

    José Luis Luri sings Tosti’s “Non t’amo piu” with Shlomo Rodríguez at the piano, from a recital given in 2019.  I came upon this voice by chance and was very taken with his lovely sound and style.  

    Watch and listen here.

    You can read about the tenor, a native of Alicante, and also about the pianist, in an article from 2022 here.

  • From The Past: Rome Opera Gala

    Cavalli

    Music by Verdi, Puccini, and Giordano figure in this Rome Opera Gala, dating from the early 1960s. Floriana Cavalli (photo above), Giuseppe Campora, and Paolo Montarsolo are the featured singers, with Gabriele Santini conducting.

    Listen here.

  • Edith Wiens ~ “Du Ring an meinem Finger”

    Edith-Wiens

    Soprano Edith Wiens sings Robert Schumann’s “Du Ring an meinem Finger“.

    Listen here.

  • Edith Wiens ~ “Du Ring an meinem Finger”

    Edith-Wiens

    Soprano Edith Wiens sings Robert Schumann’s “Du Ring an meinem Finger“.

    Listen here.

  • Chamber Music Society ~ Summer Finale 2024

    Alice-Tully-Hall-at-The-Juliard-School-Photo-14

    ~ Author: Oberon

    Saturday July 27th, 2024 – The final offering of Chamber Music Society of Lincoln Center’s 2024 Summer Evenings series took place tonight at Alice Tully Hall. After a long lunch with friends, where some very serious topics were discussed, I was in a pensive mood when we arrived at the hall. The light, decorative music of Ludwig van Beethoven’s Serenade in D-major for Flute, Violin, and Viola, Op. 25, written in 1801, was not a good match for me today, feeling a need for something darker and more soulful.

    Nevertheless, the playing was charming and, as the piece progressed, there was much to admire. It kicks off with a reveille, only it’s Tara Helen O’Connor’s flute that’s sending out a wake-up call rather than a bugle. Ms. O’Connor’s playing was at its most limpid throughout the suite. ln the songlike second movement, a minuet, her playing was elegant, whilst violinist Aaron Boyd and violist James Thompson provided echo effects. The Allegro molto  shifts between major and minor modes.

    Sweet harmonies fill the Andante, with its contrasting animated interlude, following by a scurrying Allegro scherzando. The final movement begins as an Adagio but soon transforms into an Allegro vivace, with lively playing from the three artists.

    Franz Schubert’s Rondo in A-major for Violin and String Quartet, D. 438, dating from 1816, did not provide a contrast to the pleasantness of the Beethoven, though again it was beautifully played by soloist Sean Lee and a quartet made up of Cho-Liang Lin, Aaron Boyd, James Thompson, and Nicholas Canellakis.

    Sean Lee’s playing was spot-on, with touches of rubato, and the ensemble cushioned his playing perfectly, grounded by Nick Canellakis’s ever-velvety tone.

    Following the interval, Heinrich Wilhelm Ernst‘s demanding Grand Caprice on Schubert’s “Erlkönig” for Violin, Op. 26, was given a spirited rendering by Sean Lee, though perfect clarity was sometimes missing.

    The concert ended with Wolfgang Amadeus Mozart’s Quintet in C- major for Two Violins, Two Violas, and Cello, K. 515, dating from 1787; it was here that I found my center with music more weighted and suitable to my mood. Cho-Liang Lin’s silvery, shining tone was exquisite, his phrasing thoughtful and so polished. Nick Canellakis savoured every phrase of the cello part, as the opening Allegro progressed with a rich blend of voices in the melodic flow, over a rhythmic pulse.

    In the Minuetto, Mssrs. Thompson and Boyd engaged in a friendly duel with their violas, and the music at times had a curiously brooding feeling. The cello patterns bring a restless feeling into play, enhanced by the heartfelt Canellakis timbre.

    The Andante is classic Mozart: achingly lovely, with James Thompson’s viola prominent and Mr. Lin spinning out a sweet theme, and  – later – a mini-cadenza. This music is so engaging. The final Allegro, with Mr. Lin’s playing in high relief, brought the evening to a spirited ending, thanks to the enduring grace of Mozart.

    So ended an unusual experience for me, wherein I strove to adjust my own state of mind to the program on offer; this had only happened to me a few times over the years – and mainly at the opera – where you have a ticket for ELISIR D’AMORE but are really in the mood for WOZZECK…or vice versa.

    ~ Oberon

  • 1956 RAI Film ~ CAVALLERIA RUSTICANA

    Carla_Gavazzi

    Above: Carla Gavazzi as Santuzza

    I love this old RAI film of Mascagni’s CAVALLERIA RUSTICANA sung and acted in Olde School verismo style by Carla Gavazzi (Santuzza), Mario Ortica (Turiddu), Giuseppe Valdengo (Alfio), Maria Amadini (Mamma Lucia), and Rosita Gilardi (Lola), with the Orchestra & Chorus of RAI Milano conducted by Arturo Basile.

    Watch and listen here.

  • Doro Antonioli ~ “Un dì all’azzurro spazio”

    Doro

    Doro Antonioli sings Andrea Chenier’s Improviso, “Un dì all’azzurro spazio”, from Act I of the Giordano opera.

    Listen here.