Tag: Lincoln Center

Shanghai Grand Theatre ~ LADY WHITE SNAKE

~ Author: Oberon

Saturday July 26th, 2025 – Wei was with me tonight for The Shanghai Grand Theatre’s production of LADY WHITE SNAKE, playing a brief run at Lincoln Center. The program note provides this outline of the story: “The legend of the White Snake is a classic Chinese folk tale about Bai Suzhen, a snake spirit who transforms into a beautiful woman in order to experience life and love as a human. She falls in love with and marries a mortal named Xu Xian, but their relationship is threatened by a Buddhist monk named Fahaj, who recognizes Bai Suzhen’s true identity. The story explores themes of love, sacrifice, and the conflict between the mortal and supernatural worlds.”

There’s much more to the story than that, but I chose to focus more on the choreography and the music rather than on the narrative. The Shanghai company, under the direction of the marvelous Yuanyuan Tan, a longtime star of San Francisco Ballet who I once had the opportunity to meet, is full of beauteous dancers of both sexes.

I guess I was expecting a more mythic approach to the story; much of the time the look and feel were quite contemporary. Most of the visuals were stunning. The musical score, by Xu Zhou, which featured passing nods to Chinese folk music, was – in general – more redolent of Rachmaninoff and Borodin: grand, cinematic, and a bit glossy. The choreography, by Wang Peixian, is mainly rooted in classical ballet, with some acrobatic passages for the men woven in. Sets, lighting, and video designs were all strikingly impressive, especially the presence of an enormous bell hovering over the scene.

It’s been a while since I took notes in the House of Balanchine; I’d forgotten that it’s nearly as pitch-black as The Joyce. I soon found that I’d over-written existing comments with newer ones.

The storytelling was quite clear in Act I; Act II was less compelling, with some scenes feeling over-extended. The choreography lost some of its potency as the ballet progressed, though the level of dancing never faltered. The principals in the cast danced and acted to perfection: Liu Sirui as the White Snake and Wang Nianci as the Green Snake are beauties: my husband referred to them as sisters. Both women danced and acted with finesse and deep commitment. Sun Jiayong as Xu Xian, husband of the White Snake, was poetic, elegant of movement, and an attentive partner. As the rather sinister Psychologist, Fa Hai, Su Hailu gave a stunning performance, his acrobatic feats dazzling to behold.

Though losing some momentum after the interval, the production continued to be visually engrossing. The audience seemed thoroughly tuned in to the story-telling, though I began to think the tale of Lady White Snake might be more persuasively told as an opera rather than a ballet. A bit of research revealed that there is indeed an operatic setting of the story: Madame White Snake, composed by Zhou Long and premiered in Boston in 2010; two friends of mine – Ying Huang and Michael Maniaci – were in the cast.

The evening ended with a tumultuous ovation and a set of staged curtain calls that sustained the applause for several minutes. One delightful aspect of the performance for me was running into my long-time fellow NYC Ballet fan, Lynne Goldberg, and two of my beloved Graham divas: Xin Ying and Natasha Diamond-Walker.

~ Oberon

July 26, 2025
Waiting for Elisabeth Grümmer

The most-read article from Oberon’s Grove:

~ In 1967 the Metropolitan Opera held its first June Festival. Having just opened the ‘New Met’ in September 1966, ticket demand for the premiere season at Lincoln Center had been phenomenal and the Company seized the opportunity to add several performances in the month of June. This was a bonanza for the fans and also provided the general public, who were curious to see the interior of the new opera house, expanded possibilities. The Met offered some very fine casting that June, and topping the list of exciting events (at least from the fans’ point of view) was the belated Met debut of the German soprano Elisabeth Grummer.

Grümmer was 57 at the time, and had already had a very successful career in Europe and had made several top-class recordings, working with Europe’s finest conductors. She had made her debut with the Met on tour in Boston earlier that Spring and was now coming to the House in the role of Elsa in Wieland Wagner’s production of LOHENGRIN.

This was my first chance to see this opera; Sandor Konya was at that time the leading exponent of the title role, and my beloved Irene Dalis was singing her venomous Ortrud. Stalwarts Walter Cassel, John Macurdy and William Walker completed the cast. Andre Cluytens, who was to have conducted this production of LOHENGRIN, had died the previous summer and so Joseph Rosenstock was on the podium. I suppose by international standards that Rosenstock was considered a routinier but – inexperienced as I was – I was simply thrilled to be there.

Grümmer made her entrance, and I recall the entire phalanx of Family Circle standees were waiting with collectively bated breath for her first line, which she deployed with a silvery pianissimo: “Mein armer bruder!” We were under her spell immediately and she went on to sing a really thrilling Elsa and to win a very warm acclaim from the packed house. Although nearing the end of her career, Grümmer had maintained her clarity of sound; the voice had a lyrical feeling but she was able to ride the ensembles with a bit of metallic thrust. It was an exciting debut but after repeating the role once, she never sang at the Met again. (She did appear as the Marschallin at the New York City Opera the following season.)

A large contingent of fans gathered at the stage door. Sandor Konya came out and was so kind; aside from signing my programme he gave me a beautiful photo of himself as Lohengrin. Irene Dalis appeared and she even remembered me and thanked me for coming. Then the crowd began to drift away. I knew Grümmer hadn’t left yet and I couldn’t imagine why no one wanted her autograph after such an exciting debut.

After a few moments only a half-dozen of us remained. A chorister walked out and someone asked him if Miss Grümmer was coming out soon: “Oh, she doesn’t sign autographs!” Someone else emerged and saw us: “You waiting for Grümmer? She won’t sign.” The other fans left. I figured at least I would get a glimpse of her. It had been an hour since the curtain had fallen, and I was exhausted. But something kept me there.

A car pulled up; the driver got out. He looked at me and said, “If you’re waiting for Elisabeth Grümmer, you’re wasting your time. She doesn’t like giving autographs.” I shrugged, trying to pretend that I WASN’T waiting for Elisabeth Grümmer.

Finally the stage door opened and Ms. Grümmer walked out with a gentleman. They got in the car and closed the doors. But they didn’t leave. I stood by the stage door holding my program and pen, looking as forlorn as I could. I was 19 but looked younger, and I hoped she would take pity on me. The driver was pointing at me and the soprano looked my way hesitantly. Then she suddenly rolled down her window and gestured to me. Neither of us spoke, but I handed her the program. She briskly wrote her name and handed it back to me with just a trace of a smile. I thanked her and made a little bow; she rolled up the window and the car pulled away.

Click to enlarge:

March 18, 2025
Mendelssohn Evening @ CMS

Above: Felix Mendelssohn

~ Author: Oberon

Tuesday February 25th, 2025 – Chamber Music Society of Lincoln Center offering an all-Mendelssohn evening featuring a de luxe ensemble of musicians: pianist Anne-Marie McDermott, violinist Arnaud Sussmann, cellist Nicholas Canellakis, and the Escher Quartet.

This concert was a much-needed lift of my spirits after weeks of unbearably frigid weather and a weekend of unsettling health issues. Just setting foot in Alice Tully Hall made me feel better; and then the music – and the musicians – provided just the right antidote to my malaise. By the end of the program, I was thoroughly rejuvenated.

Mr. Canellakis and Ms. McDermott (above photo by Da Ping Luo) opened the program with the Sonata No. 1 in B-flat major, Op. 45. The sonata’s Allegro vivace commences with a unison passage; a rolling melody emerges, in which he cello’s lower range is explored. Moving into minor mode, the music becomes insistent. Arpeggios from the Canellakis cello turn into long tones sustained over a roaming piano. The music turns passionate, then grand, leading to a brisk finish full of Ms. McDermott’s marvelous playing.

The winsome piano introduction to the Andante signals the appearance of a familiar theme. Nick’s melodious cello sings over elegant passages from the Steinway; Ms. McDermott then plays a delicate dance accompanied by plucked cello figurations. An increase of passion lasts only moments; the piano resumes its lightness and the music fades away.

The concluding Allegro assai brings a flow of melody; things get more animated, sweeping forward with lyrical, haunting passages. An energetic ending looms, but Mendelssohn instead provides a peace-filled finish.

Above, the Escher Quartet: Adam Barnett-Hart, Brendan Speltz, Brook Speltz, Pierre Lapointe; photo by Da Ping Luo

The Eschers then took the stage for the Quartet in F-minor for Strings, Op. 80.

Fanny Mendelssohn, Felix Mendelssohn’s beloved older sister, had died unexpectedly at the age of 41 in May of 1847. Felix, devastated, was unable to attend the funeral; he went to Switzerland to recover. There, he hiked and painted, and forced himself to compose, managing to compete his F-minor quartet. It would be one of his last completed works; he died on November 4th at the age of 38.

The Allegro vivace assai has an agitated feel: fast, fantastical music with sentimental pauses woven in. The Eschers’ trademark blend is at its most persuasive, viola and cello emerging with darker hues. Classic harmonies abound, and then the foursome become speed demons.

Unison passages open the familiar Scherzo; while energetic, the music abounds in subtleties that hint at deeper underlying thoughts. Viola and cello sing in unison before the scherzo reaches what seems like a delicate finish, only to be extended by a sort of coda.

Anguish overtakes the mood in the Adagio as Brook Speltz’s velvety cello sings a poignant melody. This is music full of longing. Themes are passed about, each of the four voices distinctively expressive. The quartet’s dynamic range is lovingly in evidence. Almost unbearably beautiful harmonies are set forth, with violist Pierre Lapointe in a lamenting passage before before Adam Barnett-Hart’s violin makes a final, poignant ascent.

The minor mode feels ominous as the finale commences. The insistent cello carries the musicians to fresh themes, with shifts from major to minor seeming to evoke Mendelssohn’s struggle with his emotions in his mourning state. Mr. Barnett-Hart’s marvelous artistry shines in the work’s concluding measures. The Eschers, ever immaculate in their music-making, were warmly hailed by the packed house.

Following the interval, the Eschers re-appeared for an Andante and Scherzo culled from Four Pieces for String Quartet, Op. 81, opening with an Andante sostenuto filled with courtly elegance. Mr. Lapointe savors a solo viola melody, and then things speed up. Sweet violin phrases are met by animation from the cello. Mr. Barnett-Hart’s cadenza leads to a da capo, and the music comes to a pretty finish.

Next on offer was more music from Opus 81: a Scherzo in Midsummer Night’s Dream mode which introduces duetting from Mr. Barnett-Hart and his fellow violinist, Brendan Speltz. This is witty and wonderful music, thoroughly captivating.

Above: Arnaud Sussmann, Anne-Marie McDermott, and Nick Canellakis; photo by Da Ping Luo

To conclude the evening, the Trio No. 2 in C-minor for piano, violin, and cello, Op. 66, was given a thrilling rendering by Ms. McDermott, joined by violinist Arnaud Sussmann and Mr. Canellakis.

Rolling piano motifs and restless strings open the main theme of the first movement, in which melodious themes are passed among the three musicians. Ms. McDermott, in some of the most amazing playing I have ever heard from her, set forth cascading keyboard passages – filled with both passion and subtlety – to dazzling effect. The Canellakis cello has a tender melody, taken up by the Sussmann violin, with magical support from Ms. McDermott; her playing was epic, and the trio swept onward with interwoven harmonies from the gentlemen. Bravi, bravi, bravi!!

The gentle Andante espressivo, with its nostalgic piano introduction, becomes waltz-like as the strings join lovingly. Piano interludes enchant; Mr. Canellakis delights with his poetic playing, while the sheer perfection of Mr. Sussmann’s artistry creates a simply gorgeous atmosphere in which we can linger and dream. Passion rises, only to settle into bliss.

Next, music that shows us why Mendelssohn is the King of the Scherzo…it’s swift and sure, the playing dazzling. The musicians seemed to be having a blast here.

The cello, and then violin, set the mood of the concluding Allegro appassionato…and passion is indeed the byword here. Bending minor-key themes are intriguing; Ms. McDemott is simply sensational at every moment. Crazy fun! But then a reverential interlude suddenly emerges, Mr. Sussmann’s violin singing sweetly over the piano accompaniment. This introspection gives way to thrilling build-up of emotion, with Ms. McDemott’s keyboard on the verge of bursting into flame.

As the last note sounded, the audience rose to salute the players with a roaring ovation that brought them forth for a second bow, much to everyone’s delight. I literally felt reborn.

~ Oberon

February 25, 2025
Three Masterpieces @ Chamber Music Society

~ Author: Oberon

Sunday February 26th, 2025 – A packed house at Alice Tully Hall for this evening’s concert of works by Haydn, Mozart, and Beethoven presented by Chamber Music Society of Lincoln Center. For me, it was a revelatory experience since I was hearing – for the first time – the Viano Quartet. Founded in 2015, the group soared to prominence after winning first prize at the 2019 Banff International String Quartet Competition.

Above, the artists of the Viano Quartet: Tate Zawadiuk, Aiden Kane, Lucy Wang, and Hao Zhou. They opened this evening’s program with Haydn’s Quartet in F-major. Op. 77, No. 2, which dates from 1799. This was the last quartet the composer wrote.

The opening Allegro moderato has a gracious start; this is music that’s full of charm. It speeds up, with delightful swift passages alternating with more lyrical ones. Each voice of the Viano Quartet has its say, and each is distinctive; but the magic is in the way they are blended. An excursion into minor mode brings new emotional responses before resuming the opening mood; the movement finds a brisk finish.

The Menuetto, placed second, has a swift, witty start. Mood swings between major and minor are gorgeously negotiated by the players, whilst ironic pauses and cunning rhythmic figurations are added delights. An interlude, filled with sweet harmonies, leads on – with more clever hesitations – to a sudden finish: all so deftly played..

The Andante opens with violinist Hao Zhou and cellist Tate Zawadiuk engaged in a courtly duo; they are such wonderfully attentive and expressive artists, as pleasing to watch as to hear. The other voices join, with Mr. Zhou and Ms. Wang offering harmonized violin passages. The playing from all is detailed, but never fussy. Hao Zhou plays a decorative theme over a melodious blend from Mlles. Wang and Kane (the quartet’s excellent violist) and Mr. Zawadiuk; the latter then takes up the melody, sounding supremely lovely. Zhou then plays an exquisite ‘accompanied’ cadenza, bringing the Andante to a serene finish.

An emphatic chord kicks off the scampering Vivace assai; Zhou’s virtuosity here is so impressive, inspiring vivid animation from his colleagues. A whimsical section – like a rhythmic game – leads on to the uninhibited finale of what was destined to be Haydn’s last completed quartet. Simply terrific music-making from the Viano players, who were called back for a second bow; in the 25-minute span of the Haydn, they had soared into my upper echelon of favorite quartets.

Maintaining their high standards, the Viano Quartet then offered magnificent Mozart: the Quintet in E-flat major, K. 614, was the Master’s final chamber work, composed in April 1791, the year of his death.

Joining the quartet, one of the Society’s best-loved artists, Arnaud Sussmann, brought his viola into the scheme of things; for the program’s concluding Beethoven, he would return in his more customary role as violinist.

Mozart commences his quintet with an Allegro di molto, launched by the two violas; Mr. Sussmann and Ms. Kane immediately formed a most congenial duo, communicating artfully, and harmonizing to perfection. As this indescribably delicious movement continued, Hao Zhou displayed his silken tone and impeccable technique to striking effect.

The Andante has a prim and proper start; a theme with four variations ensues. Mr. Zawadiuk’s cello playing is particularly fine here, his tone the basis for alluring harmonies; Ms. Kane’s likewise has a special glow. The music’s enticing little pauses tempt the imagination.

The Menuetto breezes along, with repetitive descending phrases lending a playful air. A waltz-like passage ensues, with Mssrs. Sussmann and Zawadiuk setting the pace and communicating amiably.

Mozart’s finale feels like an hommage to Haydn. It has a sprightly start, and offers some perfect opportunities to savour Hao Zhou’s sweet and subtle tone. With playful pauses along the way, this Allegro leaves us pondering – as so often – what wonders Mozart might have wrought had he lived as long as Haydn did.

Following the interval, Mr. Sussmann joined cellist Paul Watkins and pianist Gilles Vonsattel for a perfect rendering of Beethoven next-to-last trio: his Opus 70, No, 2. The piece has a poignant start, with cello, violin, and piano introduced in turn. The timbres of the Sussmann violin and the Watkins cello compliment one another ideally in a duetting flow and in phrases passed back and forth. Meanwhile, from the Steinway, Mr. Vonsattel’s shimmering sounds provide a luminous contrast to the blendings of the strings. The movement has a curious finish.

With the second movement, an Allegretto, Beethoven seems to honor both Mozart and Haydn; it opens with a rather sentimental melody; then animated string passages waft over a tinkling piano accompaniment. Amusing as this was, it went on a bit longer than my interest span could sustain; yet the playing was pristine.

Another Allegretto opens with Mr. Sussmann in a violin melody played over lulling piano motifs; the Watkins cello joins the blend as sheer beauty prevails. The music gets quite quiet.

The finale gets off to a fun start with all three musicians on top form, Mr. Vonsattel especially impressive in the music Beethoven has given him; for here, after the strings have been slightly dominant in the first three movements, the piano part offers us stunning passages in which to savour the virtuosity and grandeur of the Vonsattel artistry.

As sometimes happens to me, even in the music of the greatest masters, a sense of detours and culs-de-sacs began to creep in. An ending seems to loom, only to recede as the music soldiers on.

But it was all so wonderfully played, as – in fact – was the entire program.

~ Oberon

January 26, 2025
Chamber Music Society ~ Summer Finale 2024

~ 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

July 27, 2024
String Resonance @ Chamber Music Society

Above: Bella Hristova

~ Author: Oberon

Sunday April 21st, 2024 – A quintet of exceptional string players gathered this evening at Alice Tully Hall where Chamber Music Society of Lincoln Center was presenting works by Beethoven, Françaix, Bridge, and Mendelssohn.

Beethoven’s Trio in E-flat major, Op 3, was superbly played by Bella Hristova (violin), Timothy Ridout (viola), and Sihao He (cello). In this early work, the composer gives us six movements instead of the usual four. Each movement seemed a bit drawn out, and – beautiful as the music is – various motifs recur until their originality wears thin.

Above: Bella Hristova, Sinhao He, and Timothy Ridout at the end of the Beethoven

The opening Allegro con brio has a witty start; along the way, pauses will charmingly crop up. The violin part is quite florid, and Ms. Hristova played it vividly, The music veers from agitated to lyrical until – In a mood swing – Mr. He’s cello suddenly digs in dramatically. The music fades, then rebounds with some lively bowing from all. After another lull, we move on to a brisk finale.

The Andante has gentle start, with violin trills set over a graceful dance rhythm. Lovely subtleties emerge from the ideal blend of the three voices, and how lovely to observe the communication between the musicians. The movement ends with a brief plucked motif.

The opening bars of the first Minuet have a hesitant quality; then a sense of irony develops. Sweet melodies entwine, laced with touches of humor. Mr. Ridout’s velvety viola opens the Adagio in a gently swaying mode. Mr. Hristova brings perfect clarity to a solo violin passage, then joins in the swaying feeling as viola and cello take up the melodic line. The roles of melodist and accompanist shift graciously. A cadenza from Ms. Hristova is heard. Violin and viola echo one another, then the viola and cello commune. Near the end, a strange droning sound emerges.

The second Minuet, marked Moderato, is light and lively at first, then the sound grow denser. A high, fanciful violin passage again shows off the Hristova magic. The Finale/Allegro begins with bright, virtuosic passages before sailing thru a variety of moods and rhythms. After some false endings, the final cadence is reached.

Above: Chad Hoopes, Sinhao He, and Matt Lipman playing the Françaix

Nothing could have provided a more vibrant contrast to the Beethoven than Jean Françaix’s Trio for violin, viola, and cello, which was composed in 1933. Chad Hoopes (violin), Matthew Lipman (viola) and Mr. He (cello) took the stage for this delightful fifteen-minute piece which is alive with contrasts and gleaming tone colours. The opening Allegretto vivo is sprightly, with a jazzy feel; the Scherzo is a fast, waltzy dance.

In the Andante, the individual timbres of the three players can be delightfully savored. Mr. Hoopes opens the movement with a sweet/sad violin theme; then Mr. He’s cello sets a slow rhythm before taking up the melody with his deep-violet sound. The theme then passes to Mr. Lipman’s distinctive viola. The zestful final Rondo is rapid and rhythmical, with the violin sailing to airy heights before the mood turns whimsical with the viola interjecting some cunning trills. Then, out of the blue, the music turns into a march. The three musicians seemed to be having so much fun with this refreshing piece.

Above: violists Timothy Ridout and Matthew Lipman after the Bridge

Following the interval, I experienced Frank Bridge’s Lament for two violas for the first time. Composed in 1912, this eight-minute work is a real treasure for folks like me who love the viola sound. The two dapper young players, Timothy Ridout and Matthew Lipman, immediately drew us into the mood of the music. Mr. Lipman starts with a sorrowful theme, richly intoned. Mr. Ridout joins, playing poignantly in a higher range. In passages of close harmony, the music gets more passionate. A dialogue emerges: Matt in a lyrical mode as Tim plucks a rhythm: then they switch roles. In a passage of double-stops, we sense the aural illusion of a quartet. They two then play in unison, and Tim then sustains a long tone over Matt’s gentle plucking beat. The final chord fades. There was a big audience reaction to this rarely-heard work, and the players were enthusiastically applauded.

At last we come to Mendelssohn (above), who composed his Quintet #2, Op. 87, in 1845. The composer’s Piano Trio #1 is the piece that turned me on to chamber music…and his MIDSUMMER NIGHT’S DREAM is the perfect ballet score.

In this evening’s Quintet performance, Mr. Hoopes was 1st violin, and Ms. Hristova 2nd, while Mr. Lipman was 1st viola and Mr. Ridout 2nd; anchoring the work with his opulent cello tones was Mr. He. The lively start of the Allegro vivace heralded a thrilling performance, the rich blend these players achieved had the effect of an orchestra playing. Tremolos spring up, adding to the vivacious atmosphere. A big theme sounds, Mr. Hoopes’ violin shines in high-lying passages…it’s all very grand. Suddenly things soften, only to surge up again to a glorious finish.

The Andante scherzando has a sly start, later developing into a courtly waltz with cello pizzicati setting the pace. Minor-key harmonies emerge, and Mr. Ridout plays descending tremolos, opening an exchange of melodies between Mr. Lipman and Mr. Hoopes. The movement flows on to a wispy conclusion.

A somber – almost tragic – atmosphere pervades the Adagio e lento, with achingly beautiful harmonies evolving over the tones of the cello rising step by step. A proud rhythm is taken up, almost like a noble Spanish dance, and the music grows more lyrical, with a reassuring violin solo. The doleful atmosphere returns, with Mr. Hoopes, and then Mr. Lipman, taking the melodic lead. Mr. Hoopes has a cadenza, and then shines in a high passage over shimmering tremolos. Passion rises to a sense of grandeur, with the violin soaring over all. The music calms to a wisftul end.

The final Allegro molto vivace is a bustling affair, with each player having a chance to shine. The violas, and then the violins, harmonize. After a lull, there is a final dash, further lifting the audience’s spirits and igniting a standing ovation wherein the players were recalled for a second bow while shouts of bravo! rang thru the hall.

(Performance photos from the Chamber Music Society’s Facebook page)

~ Oberon

April 21, 2024
@ My Met Score Desk for CARMEN

Above: Aigul Akhmetshina

~ Author: Oberon

Saturday January 27th, 2024 matinee – Feeling no need to see a 6-ton tractor trailer on the stage of the Metropolitan Opera House, I took a score desk for today’s matinee of the Met’s new production of CARMEN. I wasn’t feeling my best this morning as I prepared to leave for Lincoln Center, and even considered staying home. But once the house lights dimmed, my spirits perked up, CARMEN is an opera I had not heard for a very long time, and the music seemed truly fresh to me today.

The main draw of the day was Aigul Akhmetshina, the gorgeous Russian mezzo-soprano, in the title-role. I fell under she spell when she sang Maddalena in Verdi’s RIGOLETTO here last season, which I saw three times.

Maestro Daniele Rustioni got the opera off to a fast start, setting a brisk tempo with the start of the prelude. Unlike some of the other conductors the Met favors these days, Rustioni is not a volume freak; the voices were – for the most part – clearly audible throughout the opera, and his tempi always felt right. I especially like his accelerations as each repeat of the theme of the Act II Danse Bohème sped up: exhilarating! The preludes to the four acts were beautifully played, particularly the touching music that introduces Act III. All the choral work was super as well, notably the lovely smoking chorus in Act I.

The first solo voice we hear is that of Morales, sung very impressively today Benjamin Taylor; it’s a Met-sized voice of handsome timbre. Equally striking was the singing of Wei Wu as Zuniga. Both these gentlemen deserve more opportunities at The Met.

Carmen’s friends – Frasquita (Sydney Mancasola), Mercedes (Briana Hunter), Dancairo (Michael Adams), and Remendado (Frederick Ballentine) – joined Ms. Akhmetshina for the quintet in Act II, excelling at the quick repartee. Ms. Mancasola popped off some bright top notes at the end of the Toreador Song and at “La Liberté!” to end the third act.

Micaela is the first principal character to appear, in the person of Angel Blue. This role suits Ms. Blue far better than Violetta did last season. She sounded warm and lyrical in the duet with Don José, etching in some appealing piano effects. And her aria in Act III – with its finely-played horn introduction – was a vocal highlight of the afternoon; Ms. Blue’s rich voice could be tapered smoothly to a sweet softness, making for a spine-tingling finish. Her final plea, with its stunning drop at “Ah, José!“, was beautifully handled.

Maestro Rustioni provided a whiplash start to the famous Toreador Song; Kyle Ketelsen sang the familiar tune engagingly, and he was excellent in his ‘fight’ duet with José in Act III. Later – before the bullfight commences – he and Ms. Akhmetshina shared a lyrical moment.

Above: Piotr Beczala

Piotr Beczała’s bio says he is 57 years old, but he certainly doesn’t sound it…nor look it, when I chatted him up at the stage door after the performance: he’s a very handsome guy, with an easy-going charm. His singing today as was most impressive, covering a wide dynamic range, from passionate, house-filling outpourings to ravishingly heady tones. He and Angel Blue blended voices perfectly in their Act I duet, trading phrases persuasively, and finishing off with Piotr’s amazingly hush-toned “Souvenirs du pays…”

Chez Lillas Pasta, after Carmen upbraids José for abandoning her when the trumpets summon him back to the barracks, Mr. Beczala gave us his poetic Flower Song, so ardently voiced…and with a fascinating pianissimo climax to the final phrase.

When the music turns darker and the menacing edge of jealousy overtakes Don José, Mr, Beczala unleashed the power of his voice to thrilling effect. The character’s descent into madness was set forth in vocal terms, with a manic desperation in his singing of the final, deadly encounter with Carmen.

Aigul Akmenshina established herself as one of the finest Carmens imaginable. Introducing herself with a sultry Habanera – the second verse sung with enticing subtlety – the comely mezzo displayed a warm, dusky timbre with a plushy low range and smooth forays to the top. Aigul’s Seguidilla put both the tenor and the audience under her spell with her creamy, gorgeous voice, topping it off with sustained final note.

Her singing of the the Chanson Bohème in the tavern scene veered from subtle to triumphant, but the fact that her later castanet song was not working on José as she’d expected unleashes her temper. After listening patiently to José’s love plea, Carmen returns to enticement. Zuniga’s arrival causes José to capitulate, and he joins the smugglers. My feeling here is that Carmen already hates him.

At the smugglers’ den, Aigul’s reading of the tarot cards was sung with doom-ladened low notes and a sense that time was running out for her. Her final meeting with Mr. Beczala’s José was fiery, their exchanges quickly descending to threats and taunts. In this production, José kills Carmen with a baseball bat, which I am glad I could not see; the audience gasped.

Ms. Akhmetshina’s is a welcome voice and presence on the Met stage, and I will always look forward to her performances; I also hope to one day hear her in Chausson’s Poème de l’amour et de la mer, for which I think she has the perfect voice.

The few times I glimpsed the the stage setting today, it looked cheap and junky. A real eyesore.

After the performance, I went to the stage door where I met Aigul and Piotr; they are such kind and lovely people.

~ Oberon

January 27, 2024
More Schubert @ Chamber Music Society

Above: violinist Benjamin Beilman

Sunday January 29th, 2023 – Continuing their Schubert-centric Winter Festival, Chamber Music Society of Lincoln Center today offered a full evening of the master’s works, performed by an elite sextet of artists.

Schubert’s Adagio and Rondo concertante in F-major for Piano, Violin, Viola, and Cello, was composed in 1816. It is essentially a miniature piano concerto. At the Steinway, Gloria Chien was joined by Benjamin Beilman (violin), Paul Neubauer (viola), and David Requiro (cello).

Extraordinary richness of tone as the players struck up the introductory phrases; Mr. Beilman then set forth with a dreamy melody. Ms. Chein’s crystal-clear technique offered a counter-song to the dense string harmonies as the music turned dramatic and then sprightly. Things get quite merry, with dancing rhythms propelled by vivid bowing. The music turns delicate before accelerating to a lively finish.

For the composer’s Allegro in A -minor (“Lebensstürme”), dating from 1828, the pianists were Wu Han, taking the lower octaves, and Alessio Bax, taking the upper. From its dramatic start, the music has a restless quality. Passages of extroverted energy mingle with wonderfully subtle moments: huge crashing chords give way to a haunting misterioso passage, and sharp attacks are becalmed by a poignant, pensive theme. Suddenly, silence falls. And then the pianists play on to a swift finish.

Ben Beilman, looking very dapper in his velvet jacket, and pianist Gloria Chien then blew the roof off Alice Tully Hall with their sensational playing of the long and demanding Fantasy in C-major for Violin and Piano, composed in 1827. To Ms. Chein’s lovely, rippling piano modulations, Mr. Beilmen embarked on an achingly gorgeous violin theme, his playing so hushed and tender as he spun out magically pure sustained tones at super-pianissimo. The audience seemed to hold its collective breath, overcome by the sheer beauty of the playing.

Now a charming allegro springs up. The music – lilting, light, and dazzling – calls for festoons of fiorature from both players. After a dramatic outburst, with searing violin phrases, a piano cadenza restores peace. Then, in a moment of total silence, a cellphone sounded; I momentarily thought Mr. Beilman was going to stop playing, but instead he countered the intrusion with playing of ineffable sweetness.

The music turns dancelike, with the violinist alternating edgy plucking with sweeping upward phrases. Virtuoso playing from both artists leads to an interlude, and to a gossamer violin cadenza. Then we return to the beginning: to the enchantment of the work’s first measures. Now commences an onward flight towards the finish, with Mr. Beilman’s incredible tremelos on succeeding notes taking on the air of a demented fiddler. As their astounding performance reached its end, the crowd’s pent up excitement burst forth in a tidal wave of applause and cheers; Ms. Chein and Mr. Beilman faced a full-house standing ovation as a great feeling of joy filled the hall.

Above: pianist Gloria Chien

Following the interval, Wu Han strode onto the stage in her ruby-red shoes to tell us about some of the programs CMS will be offering in their 2023-2024; we picked up brochures in the lobby after the concert, and immediately marked off several dates to put on our calendars.

The evening’s concluding work, also composed in 1827, was the Trio No.1 in B-flat major for Piano, Violin, and Cello. For this, Mr. Bax joined Mssrs. Beilman and Requiro.

The trio’s movement, marked Allegro Moderato, begins in a celebratory mood. It’s lovely to welcome Mr. Requiro back to Alice Tully Hall: he is a cellist of noble tone, capable of great subtlety; here, he takes up a serene melody, to be joined soon after by Mr. Beilman. As the movement flows on, the two string players are heard in unison or with their timbres entwining. Mr. Bax’s playing is so fluent, and with a keen sense of timing.

In the ensuing Andante un poco mosso, Mr. Bax leads off with a lullabye-like theme; the cello then commences a familiar melody, which is later passed on to the violin and piano. Mr Beilman’s flawless dynamic control is again something to relish, whilst the sound of Mr. Requiro’s cello tore at my heart. Counter-melodies and elegant tonal blends illuminate the music, which has a heavenly conclusion.

The light and lively Scherzo Allegro draws on dance rhythms. It comes to a full stop, then rebounds, with fresh themes being passed from player to player. The concluding Rondo, with its sprightly start, is full of witty dotted motifs, arpeggios, and trills. The music dances on to a merry finish, leaving the players to savor the audience’s grateful applause and shouts of bravo!

~ Oberon

January 30, 2023
CMS Winter Festival: All-Schubert Evening

Tuesday January 24th, 2023 – This year, Chamber Music Society of Lincoln Center‘s annual Winter Festival is centered on the works of Franz Schubert. Tonight’s program featured the eminent pianist Gilbert Kalish and my beloved Escher String Quartet in three masterworks from the composer’s brilliant – but all too brief – career.

The single-movement Quartettsatz in C-minor for Strings, D. 703, was composed in 1820. It seems to have been intended to be the first movement of a full quartet, but the composer never composed additional movements.

From its scurrying start, the Escher Quartet’s performance of the Quartettsatz was a complete delight; their rhythmic attentiveness and tonal appeal were amply on display, their playing full of both vitality and nuance. The silken sheen of Adam Barnett-Hart’s violin made its distinctive mark in solo passages, the music flowing onward to a sudden tempest. This is soon calmed, but Brook Speltz’s restless cello figurations keep things lively. There is a da capo, a sort of coda, which draws on to a full-toned chordal passage; here, the classic Escher blend could be deeply savoured.

Gilbert Kalish then took the stage for Schubert’s Sonata in B-flat major for Piano, D. 960, composed in 1828. This long and demanding work begins with an Allegro Moderato. Mr. Kalish delivers the theme with a sense of serenity; then a low trill sounds, seeming rather ominous – a trill which later brings music of great tenderness. As things become more intense, so does the playing: modulations are beautifully handled by the pianist. The low trill returns before a final recapitulation.

Mr. Kalish brought forth the austere calm – and the poignant colours – of the ensuing Andante sostenuto; the music’s steady rhythmic pulse puts us in a trance. The movement’s ending feels like a benediction.

In a striking volte face, the pianist takes up the boundless animation of the Scherzo. The music breezes along, pausing only for a courtly interlude. The sonata’s concluding Allegro ma non troppo is filled with an uplifting sense of buoyancy and good humor. Passing shadowy clouds momentarily blot out the sun, but by the end, all is bright and fair.

Mr. Kalish was hugely applauded by the packed house at Alice Tully Hall. If Wikipedia is correct, the pianist is 88 years young…simply remarkable!

Above, the players of the Escher String Quartet: Adam Barnett-Hart, violin; Brendan Speltz, violin; Brook Speltz, cello; and Pierre Lapointe, viola.

The gentlemen of the Escher Quartet returned after the interval for the G-major quartet, Opus 161, dating from 1826. From the work’s striking beginning, this music – which I first heard ions ago in the Woody Allen film CRIMES AND MISDEMEANORS – always casts a deep spell over me. Incredibly rich and vividly detailed, the opening movement features tremelo effects – introduced by the Escher’s stellar violist Pierre Lapointe – and achingly beautiful, ethereal themes for Mr. Bernett-Hart’s violin. The music becomes triumphant, reaching a passionate end.

As the sonata moves on, cellist Brook Speltz’s role takes on increasing prominence. In the Andante, his sublime cello melody sets the tone, with his colleagues providing gorgeous harmonies. The music becomes intensely poignant, and Mr. Speltz’s playing has me thoroughly engrossed…hypnotized, really.

But suddenly the music stopped; at first, I thought someone had broken a string, but apparently it was a tuning issue; corrections were made, and, after a few moments, the players resumed. It took a while to re-establish the mood; the music becomes hushed, with 2nd violinist Brendan Speltz and Mr. Lapointe sharing a duet passage. Then tremelos again are heard, and the music draws us on to an elegant finish.

Things had been set to rights following the interruption, and the final Allegro assai should have been the frosting on this delicious cake: a deftly Mendelssohnian affair wherein the cellist has more opportunities to enchant us…which he did. But, a jingling cellphone began to sound. The musicians played on, the music so reminiscent of Mendelssohn’s Italian Symphony. The phone ceased for a bit, then rang again. Could the timing have been any worse?

The players persevered, and the audience hailed them with a boisterous standing ovation at the end. While the intense connection to the music I was experiencing prior to the unexpected lull was never re-established, it was still a wonderful evening.

~ Oberon

January 24, 2023
CMS Brandenburgs ~ 2022

Tuesday December 20th, 2022 – Chamber Music Society of Lincoln Center‘s annual presentation of Bach’s Brandenburg Concertos is always a highlight of the New York concert season, and this year these immortal works maintained their ‘masterpiece’ status as the Society rounded up a spectacularly talented team of players. As is the CMS custom, the concertos are presented in a different order each year, and the program is given three times in order to accommodate all the music lovers who are craving a holiday alternative to the Messiah and the Nutcracker.

This evening, a packed house enthusiastically responded to music-making of the highest level. As a special treat, the gentlemen of the Escher Quartet joined the lineup; I love these guys, both as musicians and as personalities.

The program opened with the 5th Brandenburg, which belongs to the harpsichordist. Shai Wosner played the long cadenza with striking clarity and elegance. Violinist Daniel Phillips and cellist Sihao He then joined Mr. Wosner for a gorgeous rendering of the Affetuoso, Clad in a royal purple gown, flautist Sooyun Kim dazzled with her luminous tone and deft technique. The complimentary string trio of violinist Aaron Boyd, violist Paul Neubauer, and bassist Lizzie Burns were excellent. Ms. Burns and Mr, Wosner went on to be pillars of musical perfection as the evening flowed onward.

Next up was the 2nd Brandenburg, with trumpet virtuoso Brandon Ridenour sailing superbly thru the music. Mssrs. He and Wosner were joined by violinist Brendan Speltz, flautist Demarre McGill, and oboist James Austin Smith in weaving a lovely tapestry of sound in the Andante. Adam Barnett-Hart, Aaron Boyd, and Pierre Lapointe formed an admirable string trio, and it is always wonderful to hear Peter Kolkay offering his mellow bassoon tone to the music. In the concluding Presto, Mr. Ridenour and Mr. Smith vied with one another as they traded phrases, much to our delight.

In the 4th concerto (in G-major), violinist Adam Barnett-Hart was very much in his element, alternating sustained tones of gentle lustre and with passages of high-speed coloratura. Duetting flautists Demarre McGill and Sooyun Kim dazzled the ear with the swift surety of their playing in the outer movements, and tugged at the heartstrings with the poignant harmonies of the central Andante. Ms. Burns and cellist Brook Speltz brought just the right weightiness of sound to counter-balance the high voices of the flutes and violin. In the final Presto, Mr. Barnett-Hart displayed incredible virtuosity.

Following the interval, the 1st concerto, brought forth two horn players, Michelle Reed Baker and Julia Pilant, festively gowned (respectively) in red and green. They sounded as fine as the looked, and their duetting harmonies drew plushy responses from a trio of oboists: Stephen Taylor, James Austin Smith, and Randall Ellis. Mr. Kolkay’s dulcet bassoon playing has a prominent role here. The horns are silent during the poignant Adagio, where Aaron Boyd and the oboe trio spun pleasing harmonies over velvety unison phrases from Mihai Marica’s cello and Ms. Burns’ bass. The high horns swing into the jaunty Allegro, after which a wave of applause greeted the players. But there’s still a fourth movement – a mix of minuet and polonaise – in which separate choirs of winds and strings alternated, keeping the musical textures fresh til the end.

The 6th concerto features pulsing cello and bass figurations, and duetting violas (Mssrs. Neubauer and Phillips). Mr. Neubauer and cellist Sihao He (graciously accompanied by Ms. Burns’ bass) drew us in to the moving tenderness of the Adagio, Mr. He concluding with a brief cadenza. Then without pause, the sneaky start of the closing Allegro begins to sweep us along. Mr. He dazzled us with his swift, fluent playing, whilst the two violists had a field day with the fast-paced music. This Allegro induced fervent applause from the crowd.

The evening’s finale, the 3rd concerto, is a particular favorite of mine; it calls for three violins (Mssrs, Boyd, Brendan Speltz, and Barnett-Hart), three violas (Mssrs. Lapointe, Phillips, and Neubauer) and three cellos (Mssrs. Marica, He, and Brook Speltz), whilst the dedicated Wosner/Burns duo kept everything merry and bright. This concerto is unusual in that its “phantom” Adagio movement consists only of a brief passage from Mr. Wosner’s keyboard. Bach immediately sends the players back into a swirling Allegro. The evening’s performance drew to an end, the audience rising to hail the players with great – and much-deserved – enthusiasm. A second bow was called for, and then we headed out into the chilly night air, our spirits fortified by glorious music of Bach.

~ Oberon

December 20, 2022