By Guest Critic Donald Rosenberg I hope this doesn’t put us into overtime,” said Marty Merkley, Chautauqua Institution’s vice president and
On Thursday evening, Cuban-born pianist Horacio Gutiérrez, along with conductor Rossen Milanov leading the Chautauqua Symphony Orchestra, demonstrated the power of the pianissimo in a sparkling and propulsive rendering of Beethoven’s Piano Concerto No. 4 in G major, Op. 58.
Political art is about training a critical eye upon — and opening crucial discussion about — pedestaled institutions and systems that can be difficult to approach.
My favorite moments in music performance are those when, as a member of the audience, I am able to make a connection to something personal — something musical that relates to something extra-musical, extending a memory or experience into the present space. Because I want music to be meaningful, it doesn’t take much — I am looking and listening for the connection.
One particularly compelling throughline in Shakespeare’s history plays is the maturation of Henry V. When does he morph from the prank-loving, bawdy-house-frequenting Prince Hal into the sage, shrewd, continent-conquering King Henry? Judging from Evan Cabnet’s crisp but thematically questionable production of Henry V, featuring all 13 members of this year’s acting Chautauqua Theater Company Conservatory, that crucial day has yet to arrive.
On Thursday evening, the Chautauqua Symphony Orchestra presented two works that were likely unfamiliar to its audience, followed by Dvořák’s nationalistic Symphony No. 6. The ensemble exhibited enthusiasm for Kodály’s suite from Háry János and Bottesini’s first concerto for double bass, and a masterful command of one of symphonic literature’s giants.
We could have been on dangerous ground, the way they looked, always checking with each other, furtively, quick glances, as if fulfilling a special scheme to perform this concerto, itself a bit of a mystery — create it as it hadn’t quite been heard before during its century-long presence.
Last week’s blistering heatwave gave way to a coolness Wednesday night at the Amphitheater for Charlotte Ballet’s annual “Dance Innovations” program.
How people take leave of a job says a great deal about them. This summer marks the last for Jay Lesenger as Chautauqua Opera’s general and artistic director.
For every new play written about an Esther Mills, it seems there are a dozen more about Mary Todd Lincoln’s black seamstress, Martin Luther King Jr.’s black hotel maid and Woodrow Wilson’s black stenographer. It is simply easier for playwrights to get a commission when they choose to focus on African-American characters who are connected to known historical figures.