
Pilar Lorengar (above) and Fritz Wunderlich sing the Act I love duet from Puccini’s MADAMA BUTTERFLY….in German.
Listen here.

Pilar Lorengar (above) and Fritz Wunderlich sing the Act I love duet from Puccini’s MADAMA BUTTERFLY….in German.
Listen here.

(Another personal story from Oberon’s Grove: the story of Kenny and me.)
My best friend Richard and I were living in a walk-up near Trinity College in Hartford in 1985, and we did our grocery shopping at Stop & Shop. Working there as a cashier was a very handsome and unusual-looking boy with red hair and Spanish eyes. Both Richard and I were quite taken with him but he was totally aloof: never made eye contact when he was ringing up our groceries, and if we asked him a question he would give a one-word, dismissive answer. However, that didn’t deter us from always choosing his check-out lane. Then one day he disappeared. I assumed he had found a better job.

I was right. He suddenly appeared in the cafeteria of the building where I worked. I managed to find out that he was working in a medical billing office which was renting space from my company. My one-sided infatuation suddenly took on a new aspect when – to my amazement – he began making eyes at me during lunch hour. My co-workers were instantly aware of what was going on, and they would always arrange for me to have a seat at the table with a clear prospect for flirting with the mystery boy. This went on for a couple of weeks; Franky, the Hispanic boy from the mail room who I was fooling around with, referred to the interloper as Peppermint Patty. Everyone seemed to be watching and waiting for something to happen.
Then one afternoon Pam, the adorably mischievous little Black girl who did our filing, whispered in my ear: “You know that boy you like? He’s upstairs at the soda machine!” I never moved faster in my life. I raced up the stairwell and found him coming down. “Hi! I’m Philip.” “I’m Ken.” Then I shoved him up against the wall and started kissing him. He liked it. “How old are you?” “19,” he lied. I was thinking more like ‘barely legal’. Turns out he was 18.
He came over that night and in between doing what boys like to do we found out about the complications that we would be dealing with in the weeks ahead: his girlfriend, my boyfriend, his mother. Extricating ourselves from these situations was a long and frequently agonizing process. Many nights we had no place to go and spent hours driving around in his car, Miss Malibu, listening to Madonna singing La Isla Bonita. Like all young people at that time, he adored Madonna. I got used to her, for his sake. We went to see DESPERATELY SEEKING SUSAN, blatantly making out in the darkened cinema.
Sparing you the novel-length description of our travails, it’s enough to say we ended up finally freeing ourselves from our involvements with Carmen and Felix, and that his mom eventually came to accept me as a second son.

We set up house together in a very nice apartment in Downtown Hartford; for the first few weeks we holed up there, delighting in being alone together in our own place. The only thing I could cook was spaghetti with sauce from a jar. We ate that on so many nights and went out to our favorite haunt, Shenanigans, two or three times a week. Mostly we just talked and talked and talked. Kenny told me his story, which I found extremely moving. Abandoned in a hospital lobby in Columbia, South America as a baby (he has a white scar on his ankle where the I.V. was inserted that kept him alive) he was adopted via a Catholic orphan-placement organization by parents in Maine of Canadian descent. His adoptive father was a slacker, but Little Mama – as I came to call her – worked tirelessly at a manufacturing job to make a life for herself and her son. That he turned out so well is a credit to her energy and devotion.
In my vanity, I loved introducing him to my friends; having a twenty-years-younger lover was a novelty for me and I was feeling rejuvenated. In truth though, neither one of us was ready for a committed, monogamous relationship. I still had a vast supply of wild oats to sow and he, newly exposed to the gay world, was a bit like a kid who had never been inside a particularly yummy candy store before. Knowing that young people need to be amused, I started taking him out to Backsteet. Hartford had a limited dance-club scene: Backstreet was pretty much it. There were flirtations, jealousies, three-ways. For a brief period we lived in a stormy menage a trois with a Portuguese boy. The one person who had the potential to be a major part of our life, Freddy, contacted viral pneumonia soon after we’d met him and died within three days.
For all the turmoil in our socio-sexual lives, we stuck together. We basically liked each other and got on well despite the 20-year age difference.

We spent lots of time in Provincetown where the beaches, bars, jacuzzis and rooftop sundecks seethed with erotic possibilities all day and night. Following an afternoon on the dance floor at The Boatslip we would settle in for a long dinner at our favorite place, Gallerani’s. One of the many memorable evenings we spent in P’town was attending the local premiere of Madonna’s TRUTH OR DARE.
We took in his cat, Boo, from his mom’s menagerie and moved to a lovely townhouse in the West End. Madonna’s poster was up, her music playing frequently. On one trip to P’town he played the DICK TRACY soundtrack about 1,000 times; I really didn’t mind. I’d gotten used to living with Madonna.
We sunbathed in the park, trekked to Jacob’s Pillow, adored Emmylou Harris, shopped at Macy’s in New Haven, and danced on weekends. He spent more and more time with his best friend Danny. I’d go down to New York City for opera and ballet knowing he was home getting into mischief. We sort of had an understanding…but, like most understandings, this one started to wear thin.
When the owner of the townhouse wanted it back, we moved for the last time together to a nice but ordinary place. I nursed him thru a bout of illness, and we still sometimes referred to ourselves as lovers, but after six years of togetherness (with a couple breaks) we each had our own life and we were becoming something of a hindrance to each other. We couldn’t form relationships with other people when we were still tied to each other domestically. I had met and fallen in love with a Chinese callboy in NYC and was obsessed with all things Asian. Having enhanced his body at the gym, Kenny was quite the object of desire. Things had reached a turning point.
After quarrels and edginess started to overwhelm the good times of our life together, we decided to live separately. He had expanded his social circle and after a while he moved to Philadelphia (leaving me bereft, though I never told him that) and eventually to Fort Lauderdale. I took a beautiful, huge old top-floor apartment in the West End, biding my time and knowing that by my 50th birthday I really needed to escape to Gotham. I did, and Kenny was among the guests at my 50th birthday lunch in the Village.

One of my favorite pictures of Kenny & me, on the roofdeck of the Normandy House in P’town. I can imagine him saying: “Oh, my god…my hair!” It was very stylish at the time, however.
We have remained good friends and though we haven’t seen each other for years, we keep in touch and we understand one another in ways than only former lovers truly can. Whenever I hear Madonna’s voice, I remember our times together. In true romantic fashion, I have forgotten all the bad things between Kenny and me, and can best remember us driving around on those first unforgettable nights, when he would play ‘La Isla Bonita‘, singing along and changing the words: “…I fell in love with San Felipe…”
(Bringing this 2014 article forward from the Grove to celebrate the one-and-only Wendy Whelan.)

Above: Wendy Whelan, photographed by Matt Murphy
Saturday October 18th, 2014 – No two ballerina farewells are ever alike. Darci Kistler’s farewell marked the end of an era, as she was considered “the last Balanchine ballerina”. At Heléne Alexopoulos’ gala we celebrated one of the greatest beauties ever to grace the stage. Yvonne Borree’s farewell was the most touching, Kyra Nichols’ the most moving. I missed the farewells of Jenifer Ringer and Janie Taylor, saying ‘goodbye’ to them in the days prior to their final bows, simply because I couldn’t imagine NYCB without them. Miranda Weese wasn’t given the full farewell treatment as she wasn’t retiring, just changing companies. I missed her even before she was gone, and I still miss her.
Tonight, Wendy Whelan’s farewell summoned up an enormous range of emotions, just as her dancing has always done. The programme was well-chosen to underscore her association with four great choreographers, including a complete performance of one of her signature ballets, Balanchine’s LA SONNAMBULA, excerpts from works by Jerome Robbins, Alexei Ratmansky, and Christopher Wheeldon, plus a special pièce d’occasion: a new pas de trois devised for Wendy, Tyler Angle, and Craig Hall in a choreographic collaboration of Chris Wheeldon and Alexei Ratmansky.
Daniel Capps was on the podium for the opening SONNAMBULA and the concluding Vivaldi/Richter setting for the premiere of BY 2 WITH & FROM; Andrews Sill led the Shostakovich score for CONCERTO DSCH. Throughout the evening, Company musicians were featured: pianist Cameron Grant playing the Chopin for GATHERING; Susan Walters at the keyboard for CONCERTO DSCH; violinist Arturo Delmoni with Cameron Grant for AFTER THE RAIN; and violinist Kurt Nikkanen for the Vivaldi/Richter. For each of them, Wendy had a very cordial greeting, and at the end of the evening she stepped to the edge of the stage and swept into a deep curtsey to thank the NYCB orchestra for their invaluable support throughout her career. That was a particularly lovely moment.
The emotional temperature ran high all evening; in fact several people I talked to spoke of how they had experienced unusual mood swings from giddiness to despair throughout the day, anticipating Wendy’s dancing whilst regretting that it would be her last time on this stage.
Following LA SONNAMBULA‘s opening scene and divertissements, Wendy appeared to the first ovation of the night. She conveyed the mystery of the sleepwalker with her pin-pointe bourrées; in a trance, she managed to totally ignore Robert Fairchild’s endless attempts to intrude on her private world. Earlier in the work, Sara Mearns, Amar Ramasar, Likolani Brown, Megan Mann, Devin Alberda, David Prottas, Lauren King, Antonio Carmena, and Daniel Ulbricht were all vividly present, and they joined in the applause for Wendy during the bows.
In the DANCES AT A GATHERING excerpt, Wendy joined Abi Stafford and Rebecca Krohn in dances of sisterly joy; Jared Angle, Adrian Danchig-Waring and Zachary Catazaro were the handsome cavaliers. In the passage where the girls are flung from one boy to the next, Zachary made an amazing catch of Wendy as she hurtled thru the air into his arms.
It was that poignant piano theme in Shostakovich’s concerto #2 – played with great clarity by Susan Walters – that really put me over the edge. Wendy and Tyler Angle danced the adagio from CONCERTO DSCH luminously, with such expressive lyricism. A beautiful sextette of supporting dancers conveyed the quiet intensity of the little vignette Ratmansky has created for them here: Alina Dronova, Gretchen Smith, Lydia Wellington, Joshua Thew, Justin Peck, and our newly-promoted-to-soloist Russell Janzen. How thrilled they all must have been to share these moments with Wendy one last time.
Wendy and Craig Hall then danced the pas de deux from Wheeldon’s AFTER THE RAIN, holding the audience in an enraptured state as the crystalline purity of the Arvo Pärt’s ‘Spiegel im Spiegel’ stole thru the silent hall in all its poignant grace. It seemed that time stood still here, allowing us to immerse ourselves in the spell-binding artistry of these immaculate dancers.
In between the three above-listed shorter works, brief films were shown while Wendy changed costumes. In these films, the ballerina I have had the honor to know revealed so many facets of her personality. In one utterly Wendy moment, she played up the mock-jealousy of finding Craig Hall emerging from a rehearsal with ‘another woman’: Rebecca Krohn. That made me laugh out loud.
And all to soon, we had reached the end. The Ratmansky/Wheeldon collaboration provided an excellent setting for Wendy’s last dance on Mr. B’s stage. With her two princes – Tyler Angle and Craig Hall – she conveyed the supple strength, tenderness, gentle wit, and sheer overwhelming beauty that have made her one of the great dance icons of our time. The ballet ends with Wendy reaching for the stars.
At a farewell, the actual dancing often takes a back-seat to the event. The ballerina appears in selections from her cherished roles and as we savor her artistry one last time while secretly we are looking forward to the downpour of rose petals, the flinging of bouquets, the embraces of colleagues, the inevitable “last bow”, and the opportunity to express our admiration in unbridled clapping and shouting.

For Wendy, the huge ovation at the end signified not only our appreciation for all she has accomplished in her magical career to date, but also our plain unvarnished love for her as a human being.
As the applause at long last echoed away, I started walking up Broadway, planning to attend the after-party. But then I just felt a need for solitude and reverie, so I jumped on the train at 72nd Street and came home. I was thinking yet again that it has been my great good fortune to have been in this City at the same time as Wendy Whelan.
LA SONNAMBULA: Whelan, R. Fairchild, Mearns, Ramasar, Mann, Brown, Alberda, Prottas, King, Carmena, Ulbricht
DANCES AT A GATHERING (Excerpt): A. Stafford, Whelan, Krohn, Danchig-Waring, Catazaro, J. Angle [Solo Piano: Grant]
CONCERTO DSCH (Second Movement): Whelan, T. Angle [Solo Piano: Walters]
AFTER THE RAIN Pas de Deux: Whelan, Hall [Solo Piano: Grant; Solo Violin: Delmoni]
NEW WHEELDON/RATMANSKY (World Premiere): *Whelan, *T. Angle, *Hall [Solo Violin: Kurt Nikkanen]
(It took me a long time to settle on a portrait of Wendy to headline this article. Matt Murphy took the picture at the top when Wendy guest-taught a class at Manhattan Movement and Arts Center a couple of years ago. To me, the photo is her…I love the wispy strands of hair at the nape of her neck, and her utterly unique beauty.)
Bringing this story up to date, Wendy is currently the Associate Artistic Director of the New York City Ballet.
(One of my earliest long articles for Oberon’s Grove: the story of how my obsession with opera started.)

In a way, I could say that I am where I am today because of Renata Tebaldi. It’s simplistic, and of course there are a million things which influence our choices as time goes by. But it was Tebaldi who made me fall in love with opera; it was opera that brought me to New York City on my own for the first time in 1966; it was in New York City that I – the proverbial small town boy – discovered that I was not the only male in the world attracted to other men; it was a fellow opera fan who introduced me to New York City Ballet; it was my devotion to opera and ballet that kept me coming to NYC from Connecticut for 22 years – and spending a fortune. And finally it was the desire to have opera & NYCB at my fingertips that finally got me to move here in 1998. And once I did, I met Wei. So, I owe it all to Renata!
It was on January 12, 1959 that I happened to watch the Bell Telephone Hour; Tebaldi sang excerpts from MADAMA BUTTERFLY. I know the exact date because the performance has been released on video. This was not my first exposure to operatic singing; my parents had some classical LPs in their collection and there were snippets of Flagstad and Lily Pons on these. But nothing that moved me or drew me in like watching Tebaldi’s Cio-Cio-San. That was the beginning.
My parents bought me my first 2-LP set of opera arias; I found out about the Saturday afternoon Met broadcasts; I subscribed to OPERA NEWS; I wrote fan letters to singers I heard on the radio. I used my tiny earnings from my paper route and working in my father’s store to buy a few more LPs. I plastered a big bulletin board in my room with pictures of singers. My parents took me to my first opera at the Cincinnati Zoo. Then they took me to the Old Met. But it was a lonely obsession; I had no one to share it with.
In 1966 when the new Met opened, I was allowed (freshly out of high school) to make my first trip to NYC alone. I got a room at the Empire Hotel and timidly went across the street to Lincoln Center.

There I found a group of people sitting outdoors along the North side of the Opera House. “Sign in and take a number,” said a girl who was minding the line. Somewhere I still have my tag; I think I was number 57. I sat down and soon people started talking to me; I suppose to the many gay men the sight of a novice seventeen-year-old must have been tantalizing even though I was pretty ordinary looking. But people were so nice: what operas did I want to see? What singers did I like? After 5 years of having no one to talk about opera to, I thought I was in heaven. I shyly mentioned liking Gabriella Tucci, who I had seen at the Old Met. So the Tucci fans gathered and we talked about her.
I ended up not leaving the line for 3 days and 2 nights. The late summer air was comfortable; we slept (or stayed awake) on the pavement. We sang thru complete operas: we sang all of TOSCA and someone jumped into the (empty) fountain at the end. People gave me soda, a few of the girls brought home-made baked goods. Pizzas were ordered, and Chinese take-out. Someone smuggled out a recording of a rehearsal of FRAU OHNE SCHATTEN – a work most of us were totally unfamiliar with. I was devastated hearing the voice of Rysanek in that music for the first time. Franco Corelli served coffee one night; Franco Zeffirelli came out and got in someone’s sleeping bag. News filtered out about the new productions that were being rehearsed. There was a flurry of excitement when Leonie Rysanek was spotted at the far end of the Plaza. The crowd, now hundreds strong, surged around her. In a panic, she gestured for security guards from the House to come to her aid. Once inside, she turned and waved to us.
Finally the box office opened; I got my tickets: TURANDOT, TRAVIATA, GIOCONDA, ANTONY & CLEOPATRA, RIGOLETTO. I had made my first friends in NYC; I had addresses and phone numbers of people who would send me tapes and get more tickets for me.
Grubby and ecstatic, I went back to the Empire. My pants were slipping down: I hadn’t been eating. I took the bus back to Syracuse, asleep. My parents picked me up and took me home. I fell asleep in the bathtub.
Soon after, I was back in NYC for the performances I had bought. For some strange reason, I had also stopped by the New York State Theatre and bought a ticket for their Opening Night of Handel’s GIULIO CESARE. Beverly Sills was singing Cleopatra. I had heard her already when NYCO toured to Syracuse and she sang Rosalinda in FLEDERMAUS. The CESARE was of course Beverly’s “big bang”.
This was what I looked like during that summer of 1966; I loved this t-shirt and wore it literally every day until it wore out. My sweet Jeanette says I was “embedded in it.”

Above: Rosalind Plowright
An audio-only performance of Verdi’s DON CARLO given at Geneva in 1988.
Listen here.
CAST:
King Philip II – Samuel Ramey; Elisabeth – Rosalind Plowright; Don Carlos – Neil Shicoff; Marquis of Posa – Håkan Hagegård; Princess Eboli – Eva Randova; Grand Inquisitor – Kevin Langan; Tebaldo/Voice from Above – Barbara Bonney; Monk – Constantin Sfriris; Royal Herald – Valentin Jar; Count of Lerma – Constantin Zaharia.
Conductor: Richard Armstrong

(This article originally appeared on Oberon’s Grove in 2008. I’ve brought it forward to the Glade as it’s about an especially meaningful period of my life.)
When I was twenty-five I fell in love with a 17-year-old kid who spent his summers working for a small ballet company, Dance Theatre of Cape Cod. He invited me to spend a summer with him there; we would live in a room in a big house in Harwichport across the street from the studio.
Within a week after we got there, he was totally immersed in the ballet. They were mounting COPPELIA at the end of the summer; he was dancing Franz and also was the business manager for the school. He and Helen, the woman who ran the program, were very close. I could see that I was going to be playing second fiddle to COPPELIA all summer.
At this point in my life, I had never seen a ballet performance; just tidbits on TV. I was a big opera fan, but whenever there was a ballet in an opera performance I was bored to death.

The studio was located behind (and connected to) the Harwichport Town Library, directly across the street from the house where we were staying. So, the music of COPPELIA wafted over from the studio, and that drew me there. When I first walked into the studio I was much intrigued by the musty smell of old costumes that were hung out to air, and the girls (ages 8-16) were dazzled to have a man watching them. They became giggly and adorable.
The teacher eyed me with the sort of interest that small-time ballet mistresses have eyed young men for decades: could she transform me into a “dancer”? She had TJ to play Franz, she had a local actor to play Doctor Coppelius, and the boyfriend of one of the girls to play the Mayor. She wanted very much to have another male in her production, especially to pique the jealousy of the rival ballet school a few miles away.
“I’m planning to stage a little folk dance in the third act,” she said to me. “Would you think about it? I’ll make it easy for you…” TJ was poking me in the ribs, “Say yes!” She played the piece for me: it would be myself and one of the girls; the music (which Balanchine uses for the Jesterettes) was bouncy and the piece was short. Realizing that if I didn’t join in I would be seeing very little of TJ all summer, I said OK.
Then came the clincher: I had to take class. This gave me pause, but only for a minute. I was slender then, and in reasonably good shape. We drove to a small dance supply shop in Hyannis where TJ helped me get a dance belt, tights and slippers.
My first class was a riot. The beginners class, 8- and 9-year-olds, were thrilled to have a man in their class. They all wanted to stand next to me at the barre. When we began tendus, the teacher waltzed up to me and said: ” Point your foot!” to which I replied “Point my foot…at what?”
The studio had a ghost, Ada, who we contacted nightly using a Ouija board. She was a nurse who told us she had cared for soldiers returning home after World War I. How she ended up in a dance studio was never revealed. (I have since found out that the building did indeed house recuperating soldiers upon their return from Europe!)
I found that I had a natural affinity for ballet, not that I would have guessed. I began rehearsing my dance; my partner was a beautiful black-haired 14-year-old named Elaine. We got on perfectly. We played a betrothed couple who danced at Swanhilda’s wedding fete. Elaine was light and springy so the lifts were easy.In the dance, she did most of the work. Lots of stomping and romping. The piece ended with me on one knee; I reeled her in from some turns she was doing, she sat on my other knee and we smooched.

Above: only known photo of me wearing tights…with my partner Elaine Aronson, a talented 14-year old.
Costumes…I wore a blue satin vest, white tights and shirt, and blue suede boots. Elaine wore a white “peasant” dress with red character shoes and flowers in her hair. One of the mothers did my makeup. We had 3 performances, and our dance was a hit. One night one of Elaine’s friends tossed her a bouquet when we were bowing. Little kids asked us for our autographs.
After that summer TJ and I moved to Hartford; eventually we split up. I continued taking class for about 3 years. Whenever I hear the music of COPPELIA I’m transported back to that sweltering studio and that care-free time.
Beth Taylor had danced Swanhilda in our performances; the following winter she danced the Sugar Plum Fairy in another company’s NUTCRACKER. TJ and I drove down to the Cape in wintry weather to see her; aside from Beth several of the kids who had been in COPPELIA were dancing in the NUTCRACKER.

TJ took this picture of me & Beth after the show; it was the last time I ever saw her, or any of the other people I’d spent my memorable summer with.

(This article appeared on Oberon’s Grove in 2009, following Ms. Behrens’ death at the age of 72.)
“It is so difficult for me to comprehend that Hildegard Behrens has died. She was only 72 and it seems not all that long ago that my friend Bryan and I visited her in her dressing room after what was to be her penultimate Met performance: as Marie in Berg’s WOZZECK.
Hildegard Behrens was one of a half-dozen singers who, in the nearly half-century that I’ve been immersed in the world of opera, made an impression that transcended mere vocalism and acting. Her voice was utterly her own: a ravaged, astringent quality often beset her timbre – the price of having given so unsparingly of her instrument in some of opera’s most taxing roles. And yet she could produce phrases of stupendously haunting beauty, and she could suddenly pull a piano phrase out of mid-air. Her unique mixture of raw steely power, unmatched personal intensity and a deep vein of feminine vulnerability made her performances unforgettable even when the actual sound of the voice was less than ingratiating.
So many memories are flooding back this morning while I am thinking about her: the Wesendonck Lieder she sang at Tanglewood during my ‘Wagner summer’…a rare chance to hear her miscast but oddly moving singing of the Verdi REQUIEM…her televised RING Cycle from the Met…her wildly extravagant ‘mad scene’ in Mozart’s IDOMENEO…her passionate Tosca and Santuzza, cast against the vocal norm…a solo recital at Carnegie Hall…the dress rehearsal of the Met revival of her ELEKTRA where she made up (and how!) for an off-night at the premiere. Hildegard Behrens was also the holder of the Lotte Lehmann Ring, which was left to her by her great colleague Leonie Rysanek upon Rysanek’s untimely death in 1998.

It was in fact the Behrens Elektra, sung in concert at Tanglewood with the Boston Symphony Orchestra under Seiji Ozawa in August 1988 that has always seemed to me the very epitome of what an operatic portrayal can be. In a black gown and violently teased hair, the soprano (announced as being indisposed by allergies) transformed a stand-and-deliver setting into a full-scale assault on the emotions. I’ll never forget that performance and I was fortunate a week later to record it from a delayed broadcast.
In the great scene in which Elektra recognizes her long-lost brother, Behrens transported me right out of this mortal world. Here it is, from her 1994 Met performance with Donald McIntyre.
It’s going to be hard for me now to listen to Hildegard – her Berlioz Nuits d’Ete is my favorite recording of those beloved songs, unconventional as her voice sounds in that music – or to watch her on film as Brunnhilde or Elektra. For a while I will just let the memories play.”

Above: Ms. Behrens as Tosca

Above: the soprano in concert with Daniel Barenboim
Author: Lili Tobias

On Thursday, August 21st, 2025, I headed back to the DiMenna Center for my second concert of the week to see another performance that was part of the Time:Spans Festival. On the program was the world premiere of False Division, a collaboration between Endlings (Raven Chacon and John Dieterich) and Yarn/Wire (Laura Barger, Julia Den Boer, Russell Greenberg, and Bill Solomon), which created an emotional experience entirely different from Tuesday’s concert. While Chaya Czernowin’s the divine thawing of the core was powerfully haunting, False Division ultimately maintained a sense of underlying safety amidst the chaotic banquet of noise.
The music began with glowing bell tones in the percussion and electronics, reminding me of fireflies or droplets of water on a summer night. Everything that followed was incredibly different though! While I wasn’t a fan of each and every sound in the piece (such as the nails-on-a-chalkboard sound of bowing a block of styrofoam), each one was an experience of some sort, and many sounds were completely new to me (like the rumbling of a massage gun on the surface of a bass drum). There were often quick shifts between sections with very different sound profiles, each one with its own unique character.
False Division celebrated the joy of musical exploration and experimentation. I had really great seat, with a direct line of sight towards one of the elaborate percussion setups, so I could not only hear everything, but also see the process of how those sounds were brought to life. One of my favorite moments of the piece was when the percussionist nearest to me ecstatically bowed a cymbal resting on a drum until nearly half the bow hairs had frayed and split—and he did all this with a mallet held between his teeth!
I could tell all the musicians were having a ton of fun, and this fun continued through the duration of the performance. To kick off the “grand finale,” the keyboardist pulled out a twirly noisemaker, and, spinning it around above her head, made her way over to the piano bench to join the pianist for a lively 4-hand explosion of notes. Even as just an audience member, I could feel the joy of making music together, and I left the concert hall far more lighthearted than I did on Tuesday. Both nights were filled with incredibly inspiring music, and it’s always good to have variety at a long festival like this!
~ Lili Tobias

Above: composer Chaya Czernowin, photo by Astrid Ackerman
~ Author: Lili Tobias
Tuesday August 19th, 2025 – This evening, the Talea Ensemble, with Claire Chase on solo contrabass flute, performed the US premiere of Chaya Czernowin’s the divine thawing of the core at the DiMenna Center. The concert was part of the Time:Spans Festival, and the musicians delivered a stunning performance to a nearly full house!
Breathing played a prevalent role in the sound world of the divine thawing of the core. The unusual collection of instruments in the ensemble, which included six flutes, six oboes, and six trumpets, leaned heavily on the winds, which were truly “windy” to the greatest extent. It was as if the musicians made up a collective weather system, at times calm and at others, stormy. The music began with a plaintive, single-note call-and-response structure between Claire Chase on the contrabass flute and the other sections of instruments. Tranquil, but at the same time eerily apprehensive and ill at ease.

Above: Claire Chase (rehearsal photo)
Further on in the piece, the storm broke: the winds and brass howling and screaming, the notes swirling behind the frantic trills of the contrabass flute. Chase displayed incredible breath control when the music got chaotic. Although it seemed at first as though she was struggling for breath with sharp uptakes of air, I could ultimately tell that this effect was deliberate. The breath in was just as important as the breath out, as it added an extra layer of humanity to the music that can be difficult to achieve with a non-vocal ensemble.
From the first few delicate tones to the turmoil of a “demonic waltz,” Czernowin’s music continually circled around exact pitches, rarely landing solidly on a frequency. The winds bent the notes, wavering and unstable, while the cellos bowed deep into the strings, producing rumbly low sounds. Even the piano, when it first entered the soundscape, provided key strikes that oscillated up and down in their decay.
And together as an ensemble too, the musicians often behaved as one entity emitting and ever-shifting collection of sound. The addition and subtraction of tones from the cumulative voice of the ensemble created a brand new form of pitch variance, and this perpetual suggestion—but never clarification—of pitch kept me attuned to every tiny transformation.
Suddenly though, all airflow was cut off, and just the breathing of the audience was left in the hall. After a moment of silence, applause erupted through the rows of seats and lasted for a good 5 minutes!
The musicians of the Talea Ensemble:
Laura Cocks, Flute
Yoshi Weinberg, Flute
Isabel Lepanto Gleicher, Flute
Catherine Boyack, Flute
Amir Farsi, Flute
Michael Matsuno, Flute
Michelle Farah, Oboe
Stuart Breczinksi, Oboe
Christa Robinson, Oboe
Jeffrey Reinhardt, Oboe
Karen Birch Blundell, Oboe
Mekhi Gladden, Oboe
Sam Jones, Trumpet
Jerome Burns, Trumpet
ChangHyun Cha, Trumpet
Alejandro López-Samamé, Trumpet
Atse Theodros, Trumpet
Robert Garrison, Trumpet
Mike Lormand, Trombone
Dan Peck, Tuba
Margaret Kampmeier, Piano
Sae Hashimoto, Percussion
Chris Gross, Cello
Brian Snow, Cello
Thapelo Masita, Cello
Conductor: James Baker
~ Lili Tobias