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.
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.
Mary Dunleavy, who was the Butterfly Saturday evening, carried the full Amphitheater audience through a launch of anticipation and joy and then shivered down the other side into a gut-wrenching despair and suicide. Not many functions in life have such range, delivered within just a few minutes, but this virtuoso soprano was mother, maenad, lover, child and sage, and it wasn’t only with the well-made words she used, for this was performance — chilling performance.
The view of Turkey in Strohl Art Center is as if at the end of a telescope, condensed close-ups by six women in that crossroad country, six women with six notions, six topic sentences, six ideas. The show then is focused still tighter when squeezed into the intimate Bellowe Family Gallery on the second floor.
Just a tiny show — 20 pictures by 13 artists — and all on paper, small to medium size, no overstatement, no heroics, no shouting. Simply pencil, ink, watercolor on some, pastel, spray paint.
Under love’s heavy burden do I sink. —Romeo
Well, that is a bit dramatic … though that was Shakespeare’s point, wasn’t it?
The horrors had begun. The “Night of Broken Glass” was Nov. 9, 1938. It was the beginning of the “Final Solution.”
In the spring of 1939, English composer and pianist Benjamin Britten traveled to Canada and then to the United States, where he remained for three years. He came up with the idea for a concerto for violin and orchestra — it was to be his Opus 15, completed that year, premiered the next and modified by the composer throughout the next two decades.
OK, here it is; truth be out: There’s a special brand of artists who truly are a strange breed. I’m not arguing for Vincent van Gogh-Jackson Pollock eccentricities. Most artists live quite regular lives.
This may be the 56th Chautauqua Annual Exhibition of Contemporary Art — a juried rite of entry for each season — but it is the first one in my long memory that hangs together and works as a unit, rather than as a random gathering of different parts, fine as they may have been. Credit the gift to the new director of the Albright-Knox Art Gallery in Buffalo, Janne Sirén.