My new culture season is duly launched. As of last night, I’ve taken in: “Anna Nicole,” apparently the last production of New York City Opera, presented in collaboration with the Brooklyn Academy of Music on September 21; the new film “Don Jon” by Joseph Gordon-Levitt at the AMC Theater on Broadway at 84th Street on September 29; a memorial celebration for my friend, the late Ari Joshua Sherman, at the DiMenna Center for the Arts that same evening, September 29; my first New York Philharmonic subscription concert at Lincoln Center on September 28; the new Broadway revival of “The Glass Menagerie” at the Booth Theatre on October 1; and the American Symphony Orchestra’s “New York Avant-Garde” concert at Carnegie Hall last night, October 3.
Herewith a brief summary of these experiences as the season really gets under way.
New York City Opera has been an important part of my cultural life ever since I arrived in the city in the fall of 1977. I have particularly appreciated their staging of new works and works that are not central to the repertory, since the mainstream stuff is available in generally superior performances from the Metropolitan Opera. It isn’t so much that City Opera was less expensive to attend, but that it was usually more interesting to attend, even when they were putting on standard works such as “La Boheme” or “Carmen,” since they usually found an interesting “twist” that made them seem like new works as well.
But a series of management mistakes, and the heavy fundraising competition of the Met, together with the impact of the Great Recession on charitable donations, has put the City Opera into a financially untenable position. If there had to be a last production, I’m glad it was a new opera, a premiere for New York, and something that lived up to most of the advance hype. Although I found Mark-Anthony Turnage’s score to be serviceable rather than memorable, the libretto by Richard Thomas would have made an excellent play with incidental music on its own, and the production directed by Richard Jones with the music conducted by Steven Sloane was consistently entertaining and attention-grabbing. From one perspective, this might seem a trivial piece of musical theater fluff about a gold-digger who was famous for marrying an elderly billionaire and then battling his family in court for her intestate inheritance as a surviving spouse, but it had an awful lot to say as wry satire about our celebrity-obsessed society and the dangers that these “no-talent” celebrities run into as they encounter the hangers-on, exploiters, and – in this case—hostile “in laws.” Too bad there is unlikely to be a film from this production, but I think there may be one from the original English production at Covent Garden.
Joseph Gordon-Levitt’s “Don Jon” is reportedly his first attempt at scripting and directing a major motion picture – starring himself – and I think Gordon-Levitt pulls off the Woody Allen act with aplomb. He impersonates a “dumb jock” Jersey boy obsessed with his body, his car, his pad, his boys (friends) and his girls (sex objects). He haunts the suburban nightclubs looking for chicks to score, and because he’s a self-confident, sexy hunk, he can have almost anybody he wants. But the sex is not satisfying – there’s really no emotional connection – and he’s convinced that masturbating to pornography is more satisfying. As a result, even though he’s having sex several nights a week with real women, he’s getting off to porn several times a day. Something has to give. And there’s the story, when he happens upon somebody to whom he’s attracted who doesn’t want to jump into bed without some personal acquaintance. Of course, this isn’t a perfect film. No film is. But it is dramatically credible, well written, acted, and directed, and I found it compelling – at least to the extent that my mind never wandered, as it tends to do if a film bogs down in slow, talky, lassitude. This one never does.
The New York Philharmonic initiated its subscription season with a program that could easily be criticized as semi-pops concert fare: Ravel’s Alborada del gracioso, Bernstein’s Symphonic Dances from West Side Story, and Tchaikovsky’s Piano Concerto No. 1. Light, not challenging, virtuosic, catchy tunes and rhythms, etc. But, as expected from this orchestra conducted by Music Director Alan Gilbert, everything was so well-played, and the program was actually so canny in terms of constructing a concert program that “works,” that it was a pleasure to attend. I might have wanted the Ravel to be slightly faster in pacing, but the moderate tempo made it easier to appreciate the subtlety of orchestration, and then to remark to myself about how whoever was responsible for the orchestration of the Bernstein piece really knew their Ravel!! This is a bit of a question, actually: Bernstein followed Broadway tradition of having the usual experts translate his piano score into an orchestration for a standard B’way pit orchestra, and various other hands were involved in extracting the dances, knitting them together into a continuous piece, and expanding the orchestration for a symphony orchestra. Of course, the musical ideas are Bernstein’s, but it’s unclear to what extent the orchestration is. He didn’t even conduct the world premiere, although he subsequently recorded the piece with the NYP, and surely he approved the final orchestration and probably tweaked it. . . As for the Tchaikovsky, Yefim Bronfman, who is the orchestra’s “artist in residence” this year, was reportedly playing it for the first time in public! Hard to believe, not just because it was such a well-conceived and executed performance, but because he was born and educated in Russia and is famous for his Rachmaninoff, Prokofiev, and Shostakovich concerto performances. Every young pianistic firebrand is expected to have this concerto in his or her active repertory. But for whatever reason, he hadn’t gotten around to Tchaikovsky until the NYP asked him to do it to start off this season. Magnificent! He and Gilbert should get right into the recording booth together.
Ari Joshua Sherman, know to his friends as Josh, passed away last spring in Vermont. He had not let many know that he was seriously ill, and the NY friends were used to long periods between sightings after he and Jorge had shifted their principal residence from W. 108 Street to Addison, VT. Jorge arranged two events for friends to remember Josh, one in Vermont and the other at the DiMenna Center (housed in the basement level of the Baryshnikov Center on W. 37 St.). The event was a worthy tribute and remembrance, including performances of music that had been important to Josh, who was an enthusiastic chamber musician (violin) and music lover, interspersed with readings from the memoirs he had worked on over many years. So sad that a long-time friend is gone, but consoling that he had such an interesting and productive life.
Tennessee Williams’ “The Glass Menagerie” put him on the Broadway theater map, but I find it a lesser work than some of his subsequent plays. This performance is really mainly about Cherry Jones, one of our greatest living actors, whose portrayal of Amanda Wingfield in this production is a completely convincing one. Talk immediately began about Tony nominations as soon as previews began, and this is now expected, regardless what happens the rest of the season. Zachary Quinto as her son Tom is not so totally successful. I thought it took him some time to warm up at the performance I attended, not really coming alive fully until well into the first act, but burning on all cylinders in the second. Celia Keenan-Bolger was extraordinary as Laura, the shy daughter, and I thought her performance was right up there with Cherry Jones in terms of accomplishment and vivid characterization. I enjoyed Brian J. Smith as “Jim, the gentleman caller,” who appears only in the second act, but then for an extended scene with Laura that provides great comic relief and emotion combined. Smith was just right in this part. In short, this was a performance that worked very well, performed on a set that worked very well, with fine incidental music by Nico Muhly, in a wonderful conception of the script directed by John Tiffany. The show, whatever its flaws, was certainly worth reviving in a production of this quality as a showcase for these fine actors.
Finally, the American Symphony. At first it appeared this concert might be lost to the Carnegie Hall stagehands’ labor dispute, which had cause cancellation of the opening night gala the prior evening. But the union had made its point and was content to hold back for a while and allow the season to begin with the ASO while continuing to negotiate, and I just heard that a bargain was struck on Friday.
Leon Botstein’s program, “New York Avant-Garde”, took as its point of departure the famed “Armory Show of 1913” that formally introduced New York to the new “modernism” in visual art. Botstein suggests that this program had echoes in music that first began to be expressed in New York concert halls after World War I, in a burst of musical modernism that extended to the end of the 1920s. This showcase for the avant-garde presented music by George Antheil (A Jazz Symphony 1925), Charles Griffes (Poem for Flute and Orchestra (1918), Aaron Copland (Organ Symphony 1924), Carl Ruggles (Men and Mountains 1924), and Edgard Varese (Ameriques 1918-21). The particular Carnegie connection was that the first and last of these pieces were first performed at Carnegie Hall during the 1920s, the Varese in a performance conducted by Leopold Stokowski, who would later in his career found and conduct the ASO.
I thought the concert was very successful, especially given the uncertainties of the day that had resulted in some juggling of last-minute rehearsal time. The ASO secured the services of three excellent soloists. Pianist Blair McMillen was a joy to hear and to watch as he threw himself body and soul into the Antheil Jazz Symphony, which is not quite a piano concerto but at times seems to think it is one, with extended piano cadenzas that McMillen tossed off insouciantly. Randolph Bowman, principal flutist for the Cincinnati Symphony and the ASO’s summer seasons at Bard College, was excellent in the sumptuous Griffes piece. Stephen Tharp pulled out all the stops (couldn’t resist that) in the Copland, whose organ part was originally conceived for Nadia Boulanger’s American tour and appearances with the Boston Symphony and New York Symphony. This first half of the concert was just one thrill after another.
I was a bit less thrilled by the second half. I’ve never quite “gotten” Ruggles. Although at times I find his orchestration to be interesting, I don’t get a feeling of organic flow to his compositions, which to me are an essential part of music. It feels too static, too granitic, although on this occasion I had a more favorable reaction to the middle movement – Lilacs – which actually seemed to flow in the hands of the ASO string players, who made a warm sound amidst the pounding brass of the outer movements.
The first time I heard Ameriques at Carnegie Hall, Christoph von Dohnanyi was conducting the Cleveland Orchestra. On that occasion, it struck me forcibly how strongly influenced Varese was influenced by Stravinsky’s Le Sacre du Printemps, which was first performed shortly before World War I broke out. I was less struck by the resemblance at the ASO concert, perhaps because Botstein’s interpretation was less overtly aggressive than Dohnanyi’s.
Overall, however, I thought this was a useful concert for bringing to light music that doesn’t get played very much, and the orchestra did a marvelous job of pulling it together and making it work.Tags: Alan Gilbert, American Symphony Orchestra, Anna Nicole, Ari Joshua Sherman, Brooklyn Academy of Music, Don Jon film, Joseph Gordon-Levitt, Leon Botstein, New York Avant-Garde, New York City Opera, New York Philharmonic, Nico Muhly