Every year, the Tanglewood Music Center studies and performs one opera, in the old Theatre building, the only one at Tanglewood that has proper stage facilities and an orchestra pit. This year it was Così fan tutte under James Levine, and I had secured the ticket early because the theatre is not very big.
But when I was there, I began to wonder, was it worth it?
The director was Ira Siff of La Gran Scena Opera Company, a “travesty group with falsetto ‘divas’ ”. And so it should not have been much of a surprise that there was a lot of slapstick. The question though is, how far can one go interpreting a Mozartean dramma giocioso?
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Every Friday, Saturday and Sunday in July and August, there are concerts in the Tanglewood Shed, mostly with the Boston Symphony playing, some memorable, some not. So here are my impressions:
Kurt Masur conducting Prokofiev (Symphony No.1, Violin Concerto No.1 with Joshua Bell) and Beethoven (Symphony No,1, and two days later Mozart's last three symphonies, 39, 40, and 41. Mr. Mazur turned 80 a couple of weeks earlier. My impression is that the BSO always plays Mozart and Beethoven better under him. (I didn't like their performing these composer at all when Seiji Ozawa was the orchestra's music director, but it has improved some under Levine.) In any case, both concerts were great, and Joshua Bell his usual excellent self.
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The Festival of Contemporary Music (FCM) at Tanglewood this year had the theme “The Generation of ‘38,” meaning most of the music performed was by (American) composers born in 1938 or thereabouts. Almost all of them were present at the festival. John Harbison, the festival director, is one of them. (The FCM link above is accompanied by an audio portion describing a photographic retrospective of the festival in the Visitors Center.)
Performers, with the exception of a few professional soloists, were the fellows of the Tanglewood Music Center (TMC),
“ Established in 1940 by former Boston
Symphony Orchestra Music Director Serge Koussevitzky, the Tanglewood
Music Center (TMC) provides a unique, in-depth musical experience for
emerging professional musicians of exceptional ability.”
Judith Tick, Consulting Scholar, conducted lively pre-concert talks, often with the composers themselves.
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Laptop finally works again ... and another summer in the Berkshires with music and other arts is over.
Greeted by baby finches on the front porch who managed to hide well in the hanging fern plant and weren't fazed at all by the constant traffic of guests, let alone by those sitting and chatting on the porch, I happily settled in familiar surroundings.
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Boethius' most popular work is The Consolation of Philosophy, which he wrote in 524 AD while in prison, or possibly under house arrest, awaiting execution on charges of treason and black magic. He had been a philosopher, translating works of Aristotle and technical works on music and mathematics into Latin. He was consul in 510 under King Theoderic, the Gothic king of Italy, eventually reaching the post of Master of Offices (roughly, head of the civil service) and was so well thought of that both his sons became consul in the same year, 522. We do not know exactly what caused his fall from favour, but it may have had something to do with Theoderic's annoyance at the policies of Justin, the Emperor in Constantinople, who was persecuting Theoderic's fellow Arianists. Boethius himself claims in The Consolation of Philosophy that it was due to enmity he had aroused in corrupt court officials by his own upright behaviour. Not that the two explanations are incompatible, of course.
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