Molly Smith Metzler’s new comedy, The May Queen, currently running on the Bratton Theater stage, has echoes of “The Breakfast Club,” “Grease,” “Mean Girls,” “Carrie,” “Peggy Sue Got Married,” and every other story of high school wherein the girls are mean and the guys are shallow and selfish.
What is music about? It’s an ancient and rather silly question, but it comes up every time the music of Dmitri Shostakovich is played — as it was at Saturday’s concert by the Chautauqua Symphony Orchestra.
Sometimes the gap between one tradition, or one era, and another seems just too vast to bridge, to make the connection between the comforts of, say, the familiar older melodies when set against the risks of our moment, in this here and now.
This young man, his name is Cristian Macelaru, put his brand on the Chautauqua Symphony Orchestra Tuesday evening in the Amphitheater. For this was no ordinary New World Symphony they played together, even though there is a world full of the New Worlds now — too many, really, some of them like weeds growing in music videos and advertisements and ever more on the variety of airwaves.
Home is where the heart is, as the old saying goes, but in the works by the six artists currently on view at the Fowler-Kellogg Art Center, home and heart appear to coexist warily, like estranged spouses under the same roof.
Flowers … let me count the ways. From 17th-century Dutch painting to Andy Warhol, flowers have provided inspiration and imagery for countless works of art.
Discipline and precision were very much in evidence in the Chautauqua Symphony Orchestra program of this past Thursday, conducted by Bulgarian-born Rossen Milanov, music director of the Princeton Symphony Orchestra and the training orchestra Symphony in C — both in New Jersey — and principal conductor of Orquesta Sinfónica del Principado de Asturias in Spain.
You’ve got to be taken by Jerry Saltz. Give him a microphone and he’ll likely put it aside and wade into the room and talk face-to-right-up-close-and-personal-face with whomever catches his fancy.
It’s particularly satisfying when the music plays a substantial role in driving an evening of dance.
Charles Burchfield (1893–1967) would count among the most intriguing and difficult-to-categorize of American artists. In his early years in Ohio, he produced works truly radical for their time: fantastical, stylized landscapes that strove to capture every sensation of nature, from the beating of sunlight to the buzzing of insects. Moving to Buffalo in his late 20s, he turned to a more conservative, realistic style, eventually gaining acclaim as a leading American Scene painter.