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The Collaborative Piano Blog (Free subscription) | 11/20/2009
For the second year in a row, here is the complete schedule for the Tanglewood Festival , released one minute after the end of the press embargo. These listings are taken directly from the press release, with only some minor formatting changes made to the original text. The Mahler Symphonyies # 2 and 3 look to be season highlights, but I always have a soft spot for programs like Audra MacDonald's New...
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Curbed (Free subscription) | 11/12/2009
In what may come as a surprise to many, the Times reveals that people enjoy staring out of windows at their neighbors . Yatta yatta urban life, Rear Window, voyeurism, reality TV, etc. Here's the cool part: The accompanying photo gallery featuring reprints of artist Matteo Pericoli's sketches of the views outside notable New Yorkers' windows. For those keeping score, the worst view belongs to choreographer...
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Susan Tomes: Pianist & writer (Free subscription) | 11/04/2009
I’ve just realised that this is my hundredth blog post on this website. I am a centenarian! To celebrate, here’s a sweet story I heard from Mark Morris when I attended his question-and-answer session the other night at Sadler’s Wells. He was complaining about someone sitting in the balcony at one of his shows last week who [...] Sensitivity is a post from the Susan Tomes: Pianist...
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Flavorwire (Free subscription) | 11/03/2009
Nikola Tesla was a notoriously obsessive scientist who pioneered the advent of Alternating Current (Edison gets all the props with his DC current, but all the electricity you see is AC), as well as wireless electricity, the remote control, basic radar, the generator (basically a motor), cellular technology, the remote control, X-Rays, neon lighting, tesla coil (transformer) and a myriad of others....
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Susan Tomes: Pianist & writer (Free subscription) | 10/30/2009
Even in the dark and without his lipstick-pink pashmina, I recognised choreographer Mark Morris standing chatting with two friends outside Sadler’s Wells Theatre an hour before his show last night. It wasn’t like bumping into Diaghilev: Morris was dressed in old corduroys and a shapeless black t-shirt. I thought it might be his “please don’t recognise [...] Meeting one of my...
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ArtsJournal (Free subscription) | 10/20/2009
"Dance itself. The one reason people don't take dance seriously is because a lot of choreographers don't take dance seriously. Audiences don't want to see the kind of self-indulgent, boring dance that is so prevalent today."...
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ArtsJournal (Free subscription) | 08/27/2009
"In Morris's latest efforts, the insight into the relationship between music and dance is still there, as are the brilliance of construction, the imagination, the naughty-boy wit and its opposite: acknowledgement of loss and mortality. …What's missing in the newer works is Morris's once-surging desire to choreograph. How did this happen?" Tobi Tobias has some ideas …...
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New York Times (Free subscription) | 08/20/2009
If you’re interested in the dance theater of Mark Morris, then the fragmentary dramas of his two new pieces are strange and fascinating.
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I'll think of something later (Free subscription) | 07/14/2009
Sadder than I can say, and yet also amazed and thoughtful, to learn that Sir Edward Downes and his wife Lady Joan chose to end their lives on Friday through Dignitas in Switzerland. Though I'd interviewed Sir Edward about Verdi at the Royal Opera, I came to know and admire them both through their association with the Prokofiev Foundation. Lady Joan, former dancer and administrator who knew Covent Garden...
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New York Times (Free subscription) | 06/27/2009
Mark Morris’s danced production of Purcell’s opera “Dido and Aeneas” was performed at the Shubert Theater as part of the International Festival of Arts and Ideas.
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New York Times (Free subscription) | 05/16/2009
Mark Morris’s “Romeo & Juliet, on Motifs of Shakespeare” began a run on Thursday night at the Rose Theater.
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The New Yorker - Arts and Culture (Free subscription) | 05/11/2009
Mark Morris’s version of “Romeo and Juliet” is set not to the familiar version (1940) of Prokofiev’s famous score, but to an earlier version (1935), in which Romeo and Juliet do not die. Prokofiev was a Christian Scientist, and Christian Scientists believe that there is no such thing as death . . .
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