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Jazz

Great article, Ned. I always considered you one of the "ultimate hipsters" from the generation just before mine. Articulate and spot-on, man. I think I was born one generation too late. I was watching a PBS special the other day about the heyday of Greenwich Village culture(50's and 60's), and longed for its return somewhere....anywhere. And I really liked the way you tied jazz music into the soothing of our country's wounded collective soul. We need it now more than ever. Thanks.

Chuck Cobb

read Ned Bobkoff's article

Soothing the Raging Beast: Jazz as Theater

Absolutely love the page opener with the montage of moving photos and the jazz playing! Veeerrry classy! I am the partner who accompanied Mr. Bobkoff to the Wild Magnolias blowout at Harro Ballroom. Being Native American myself, I felt it was an excellent opportunity for me to finally see the "Mardi Gras" Indians. I knew it would be a mix of influences, but it proved to be pure theater, as the author so expertly describes.This phantasmagoria is an excellent example of a kind of intercontinental cultural diaspora: when displaced peoples loose the homeland moorings, adaptability attaches itself to survival. On the way out, the lead "Spy Boy" autographed the CD I bought while I commented admiringly on the beadwork on his "outfit". Glancing behind him, however, I saw his feathered headdress lying unceremoniously on the floor. A Native American dancer would never let those feathers touch the floor. So much for authenticity. In terms of survival, however, perhaps he was the one who was admiring us, by way of imitation, after all. The "good time" became a sobering insight.

Rosalie Jones

read Ned Bobkoff's article

Jazz

Mr. Bobkoff knows his Jazz and we, the readers, are better off for it. Please write more reviews.

Les Marcott

read Ned Bobkoff's article

Rochester (NY) International Jazz Fest

Full disclosure...I am one of the photographers. Regardless, good article on the Fest. So much music you don't know what to do. Something for everyone who likes Jazz. If you don't like a particular group, just walk out and go across the street. Gets really hard to work my day job.

Kelley Yost

read Ned Bobkoff's article

Blaze Foley

Les, you did Blaze Foley good. I'll not forget you are the one who introduced me to his music. I'm still listening to him everyday. Songs that have become so much apart of my life, he was a genius and I only wonder what he'd have written had he not left so soon.

Michele

read Les Marcott's article

Creative Financing Means Going On with the Show

Theater people of all genres, and for that matter all artists including endeavors involving poetry and the other written arts, must not be defeated by a government organization saying we cannot give you any money. Artists need to think outside of that sow's purse and actively seek money else where. If necessary, take off your hat (mine says "Poet" in big bold letters) and pass it around to those listening. If you cannot get past the embarrassment of begging, you are not a true artist. While we are on the subject, come see Four Saints in Three Acts Feb 20 at CUNY Graduate Center on 5th Avenue. It's free to the public. Look it up at EncompassOpera.org. Encompass doesn't yet have all the money needed for the 16 piece orchestra but if you come and toss something in the hat after you hear this wonderful performance of the most innovative American opera ever created, maybe Nancy Rhodes won't have to go to the Poor House.

Karren Alenier

Astral Weeks

Enjoyed the article Les. Need to find this album!

Michele Hartley

read Les Marcott's article

Thank you Les Marcott

I too have just finished watching "The Nashville Sound" DVD and also wondered whatever happened to Herbie Howell. In my search for info I came across Les Marcott's great article. As Les said, Herbie may have just drifted away...I think those guys in charge of "the C & W Business" seemed pretty hard and controlling, I don't think Herbie would have survived long in that cut throat environment. The movie, The Nashville Sound was fascinating, a time capsule of fashions, cars, hairstyles, manners, advertising and performance techniques and most of all full on, wonderful music.
A fun movie and a great story by Les.

Jim Stapleton

read Les Marcott's article

Continue reading "Thank you Les Marcott " »

Herbie Howell redux

Please be aware kind readers that Herbie Howell was actually found by one of our readers. It turns out he has been hiding in plain sight in his home town of Augusta, Georgia all these years. And while he long ago gave up on a musical career, from what I understand has lived a rewarding and happy life. This news was posted here last year (click to read) but since there is such a tremendous interest in his story I deem it worthy to post again.

Les Marcott

read Les Marcott's original article

[For other posts on Herbie Howell, search the blog]

Peter Grimes

I too fell in love with Peter Grimes a long time basically because I've always worshipped Britten's music and this opera is so incandescent. Thanks for a beautiful look at a beautiful production.

Amy Sachs

read Karren Alenier's article

Your Demands

That's a hot list you got there Les. And very funny. But you know, those performers aren't very different from other folks. Look at the politicians and the CEOs. They do the same thing. I guess what happens when you get to certain place with power and money you get what you want and go a lttle crazy. Then it shows in your work and with musicians it shows in their music or what's left of it. The U.S. is the land of plenty but maybe not for long.

Jamie Perjtin

read Les Marcott's column

Manfredo Fest

I always loved his music. Latin jazz as good as there ever was and the article caught that thing that made Manfredo's music so rich--that classical ride underneath. It's so sad that he passed when he did, but such a joy that his music is still alive and real. I hope somebody will do a commemorative album and pick the high points of his career. Maybe there's some film available. He was a joy to listen to and a joy to watch.

Bobby Friedkin

read Arthur Meiselman's article

And the beat goes on

Dear Lia Beachy, Good to read that you still listen to vinyl! It is getting more and more popular again! The photo shows a Technics SL 1210 bought by your father, me and app. 3.3 M other people on this planet. I love legends. Happy spinning.

Heiner Moessing

read Lia Beachy's article

And the beat goes on

Sadly, I no longer have a Teac Turntable. Just a cheaper Kenwood. But I am inspired to upgrade to a classic turntable. I've seen the listings online. And so the search is on.

Lia Beachy

read her article

Woodstock

Thanks for this well-written and unvarnished view of how American capitalism markets and pollutes everything, right on with Michael Moore's running "love story." I was there back then, but I won't be there now.

Marianne Andreasson

read Andrea Kapsaski's article

Woodstock and Peter K.

I too feel, just like Peter, that this event is a burn of many talents of local musicians and BOOTs gets the $$$.

Pete Slauson

read Andrea Kapsaski's article

Paul Bowles

Thanks for the excellent research. Bowles was a beautiful writer but I do love his music. Your article is very well researched.

Shela Xoregos

read Karren Alenier's article

Di Wu

I first encountered Di Wu during a re-broadcast of the 2009 Van Cliiburn piano competitiion. It was mostly about the medalists, but I really was caught up with DiWu's performannces, such as they were shown. I purchased the Prize winning DVD offered through PBS and have since been able to hear her play live. I greatly admire her talent and have been reading all about her and listening to her music ccurtesy of the internet. May she have a long and continually sucessful career. Her playing is just spectacular. No wonder the critics rave. I've loved music all my life and I thank God for this new source of joyous listening. Go Di!

Sarah Kendall

read Arthur Meiselman's article

Glück's AVERNO

I am in love with Glück's AVERNO. What a treat to hear about its transformation.

Grace Cavalieri

read Karren Alenier's column

On Karren Alenier's Column

Three cheers for the math-music connection.
I look forward to more news of HOW MANY MIDNIGHTS!

JoAnne Growney

read Karren Alenier's "Steiny Road to Operadom"

The Ring

Renate Stendal , your review is extraordinary What a piece, so many complexities, one is left wondering... I love your style and exuberance even when I am left behind Bravo!

Jeanne Stark

read Renate Stendhal's review

Don't Pick Fights with Poets Redux

As a poet attuned to the musical line, I want to say before the November issue of Scene4 hides the incredibly well thought out essay What Poets Can Learn from Songwriters by David Alpaugh that there are new ways to hear some of the poetic songwriters whose lyrics are surprising and get into your head when you least expect them to. For example, the Pandora app that brings tailored radio according to your favorite singer. I personally have tapped into Madeleine Peyroux radio which delivers to my ear Nellie McKay and other new songwriters as well as those from the past like Billie Holiday.

If you don't know the lyrics of Peyroux & McKay, see my review at
The Dressing titled Don't Pick Fights with Poets

Karren Alenier

Authoritarian Musicals

A couple of points--there was a rise of the kind of musical theatre that you and Barker seem to endorse alongside the rise of the Nazis in Germany in the 1920's and 1930's, a glorious and provocative rise of the form that attracted large audiences along with the marvelous Voksbuhne (People's Theatre) in Berlin. If it hadn't been exterminated by the Nazis, the musical theatre in the post-war U.S. would have been markedly different even for Agnes deMille and her groundbreaking "Oklahoma!"

Your citing of Sondheim--a second-rate composer and second-rate lyricist who egged his way into the vacuum left by the demise of Leonard Bernstein and Jerome Robbins. His success and popularity is a stinging example of what happens when the press adulates and creates an idol, just like Lady Gaga.

Michael Aptrow

read Michael Bettencourt's column

Steven Tyler

Your comments are well taken and hit the mark. Rock and rap and hip-hop is all about the Show, it's never been about the Music.

Timothy Harrou

read Les Marcott's column

Ashland Forever

I love the Oregon Shakespeare Festival. It's everything a great theatre festival, a great arts festival should be. Thanks to Catherine for giving those of us who can't be there a rich review of its current experiences.

Judy Moritz

read Catherine Conway Honig's review

Those Wonderfully Weird Band Names

Great article, Les. This took me back to the vinyl days. The Son's of Warren Oates? I love it. Although their music left a lot to be desired, I always loved "The Sex Pistols" for their great Rock&Roll name. It has it all. Sex and violence. As far as weird, Frank Zappa had very few peers.  

Kenneth Sibbett

read Les Marcott's column

Taylor Pie - The Music Never Dies

Thank-you for Les Marcott's article about folk legend Taylor Pie aka Susan Taylor. I'm so excited about the re-issue of her classic album from 1972, "Finally Getting Home" so that was helpful information, but it's encouraging to read about an artist's determination and personal integrity, and to know it is possible to have a successful career in music on your own terms.

Guy Swenson

read Les Marcott's column

Les Marcott's Review

Some people can write reviews that make you want to hear a song. Others a whole album. Les makes you want to know everything there is to know about "Pie". In this short review. He got my curiosity up about Pie and others like Don Williams, who was also a favorite of mine. With writers like Les reviewing you, you can't help but SMILE.

Kenneth Sibbett

read Les Marcott's column

Right Wing Folk Music

Thanks to Les Marcott for his column on right-wing folk singers in the '60s. I remember Janet Greene very well in her role as Cinderella on Columbus, Ohio's Channel 6. I knew nothing of her extracurricular activities before Marcott told me. But, remembering the general run of political opinions in southern Ohio when I was growing up, I am not surprised. (I also remember Tony Dolan appearing on Dick Cavett's show. He didn't click with Dick, or with the audience.)

Miles David Moore

read Les Marcott's column

Musical Theatre

It was Andrew Lloyd Webber who elevated the non-song style of musicals and in the process diminished the treasure trove of popular songs that was American Broadway musicals. It used to be that musicals provided the songs we loved and sang. Not any more. Webber couldn't write a singable tune even if he stole it from Gershwin.

S. Bintman

read Carla Maria Verdino-Süllwold's article

the Great Heldentenors

Wonderful retrospective from Ms Verdino-Süllwold. The musical excerpts are marvelous. Would be interesting to compare them to the great tenors of today.

Frem Oberlisk

read Carla Maria Verdino-Süllwold's article

Heldentenors

It's one of the hardest things in writing to describe a singing voice. Carla Maria Verdino-Süllwold (what a great operatic name) does it superbly and opera lovers like me will eagerly await her foray into more modern times, or instantly get the book this article seems to be taken from -- an erudite lesson in operatic history. The musical excerpts beautifully illustrate her descriptions and evaluations of the singers. Let's hope for a sample of the great Wolfgang Windgassen in November.

Renate Stendhal

read Carla Maria Verdino-Süllwold's article

Water-shed Moment in Opera

In this beautiful, passionate second part of her essay, the author has captured one of the water-shed moments of opera, not just Wagnerian opera, when opera entered modern psychological and cinematic sensibility with Patrice Chéreau's Bayreuth "Ring."  It's worth repeating here what she says: "The éclat that Peter Hofmann occasioned when he burst upon the Heldentenor scene in the Patrice Chéreau Centennial Ring at Bayreuth in 1976 was nothing short of cataclysmic. The production with its bold, sweeping staging, brought Wagnerian music-drama into the living present, and it introduced a whole new generation of singers who transformed opera into communicative speech-song, replacing grand theatre with cinematic reality. Of these none made a greater impression than Peter Hofmann as Siegmund.  His voice which possessed true heroic proportions and uniquely beautiful coloration, coupled with the white heat of his acting did for the Heldentenor tradition what Maria Callas did for bel canto."

Callas had Visconti as a guide; Hofmann (and all the other superb cast members) had Chéreau. Without him, this break-through might not have happened. Thankfully, the extraordinary Ring production is preserved in a DVD that shows the genius of the French director, who was also a cinematographer. It preserves the unusually androgynous, erotic presence of Peter Hofmann as Siegmund and his look-alike incestuous twin sister Sieglinde (Jeannine Altmeyer) -- a casting and performance that would have made Wagner's most ardent dreams come true (and brought tears to the eyes of Thomas Mann.) Thanks to Bayreuth 1976, we can enjoy an operatic evolution with actors/singers like Jonas Kaufmann or Anna Netrebko (see the review of Euene Onegin in the same issue) and with live in HD opera productions at the Met that have taken up the cinematic challenge at a surprisingly high level of consistent excellence. 

Renate Stendhal

read Carla Maria Verdino-Süllwold's article

Johnny Cash

American Icons are used far to much in this country. But Johnny Cash was an American Icon, and also an American success story. Fighting off a decades long drug addiction and still having a career is hard enough, but to do it and still be as admired as he was is almost impossible. The Man in Black will be missed, but his music, especially his later recordings done with just him and his guitar, will live forever.

Kenneth Sibbett

read Les Marcott's column

Jerry Hadley

I remember Jerry Hadley so well and his beautiful singing. Why oh why did he leave us? Ms Süllwold writes so beautifully and even restraining herself she breaks my heart. Thank you Scene4 Magazine for publishing this wonderful tribute.

Molly Trincicz

read Carla Maria Verdino-Süllwold's article

In Defense of Melody

Daniel Crafts is a magnificent composer, and I'm delighted to see him getting this long-overdue recognition. It has been a great privilege to write lyrics for his music and to have my poetry set by him. In particular, he has inspired some of my best work--the Spider Woman song for "From a Distant Mesa" that he commissioned from me. I hope that his steadfast determination in combination with his brilliance helps change the whole direction of modern classical music.

Adam Cornford

read Carla Maria Verdino-Süllwold's article

Dan's a fine fellow

Thanks for this enlightening review of Dan Crafts life and work.  I'm sending it on to my friends and acquaintances who haven't had the pleasure of meeting and knowing him in person.

Mike Ballard

read Carla Maria Verdino-Süllwold's article

Rock&roll is dead? Come on.

(Patrick) Walsh is so wrong. Rock&roll is fucking alive! It's the greatest American music ever with the greatest musicians ever. It's everything that the United States is, the heart and soul, all through the world. The old music is dead. Walsh is dead and if he listens hard and dances harder, maybe I'll say "long live Walsh"!

Danny Millingham

read Patrick Walsh's column

Shelley

The beauty of Martin Burke's libretto is that it reads like music. The words flow into the ears as well as the eyes. Beautiful. Is it an opera or ballet yet? It is a composer's dream.

Arian delGado

read Martin Burke's writing

re: Rock&roll is dead? Come on.

If rock&roll is 'the greatest American music ever with the greatest musicians ever" then American music is dead! White anglo-saxon music that is. Rock is at the bottom of the heap that defines the great art of music -- drummers who can't keep time, singers who can't keep pitch or demumble lyrics, guitar players who strum the strings and have noithing to say unlike most jazz guitarists. As for songwriting in the world of pop, the American songbook closed its covers 40 years ago. Millingham must believe that Eric Clapton is a great guitarist and Bob Dylan is "the" poet of the 20th century. Pity that. Rock is not music, it's a scene, it's a video-game to wave hands in the air and pretend that you and I are the awkward, bouncing, gurgling performers on the stage, on the screen. The final burial rites of pop music is rap--can't sing like most of us? then grunt and moan in a drudging monotone and call it poetry. Rock isn't dead music, it was never music, alive or dead.

Michael Aptrow

read the prior letter

read Patrick Walsh's column

Art and the City

Many thanks to Renate Stendhal for her colorful and picaresque writing about my beloved Barcelona. I question, however, some of her feminist allusions to flamenco music and dance. Flamenco is more than 'man versus woman'. It's roots are Gypsy and it's heart is both the King and the Bull, both of which are now under attack in Spain by the mindlessness of the younger generations.

Tomas Enzopeña

read Renate Stendhal's article

On Pairings

Thanks to Ms Honig for an outstanding review of the Paris coming together of these great artists' work. There's an overall "pairing" to be gleaned from her review -- the sculptor, the photographer, the choreographer, the dancer. Actually many "pairings" and many insights.

M. Madeiros

read Catherine Conway Honig's review

Diggin' the Scene

This is nice, nostalgic purvey of an exciting place and time in American music. I was there and not as a tourist. Les Marcott sketches the gathering and ambience deftly. Though he touches on the messy downside, Manson et al, there was a hefty helping of the bad with the good. Laurel Canyon still lives in the fun-loving music and as a perfect example of the irony of change in la-la LA.

Lou Laird

read Les Marcott's column

How Now Copyright?

I read, with interest, Arthur Meiselman's piece on copyright. My response to the writer, since I am cited by him as a spur to his article is this:

I am not against copyright, that is, not against having some form of protection for created work, for the "property" of the creator.  I would just dial back the protections to the original terms of the Copyright Act of 1790, which gave a creator 14 years of protection, with an additional term of 14 years if he or she was alive at the time of the renewal.  (The original law only protected books, maps, and charts; other items, like music and paintings, were added later.)

I also don't have a problem with copyrights being treated as commodities and passed along/sold to other parties, as long as the time limits don't reset during the exchange: If my father in his will passes along to me the copyright to his wildly successful book, and thus its profits, in the 27th year of its copyright (renewed after 14 years), I get the profits for one more year only, and that's it.  Then the book goes into the public domain.  (Whatever publishing rights companies have do not trump the copyright term limit -- once the property passed into the public domain, they no longer have exclusive access to it.)

I would also support a provision that doesn't make copyright automatic once a work is created.  Copyrights would have to registered, with a small fee to do this, in order to start the clock ticking on the first 14 years.  If a copyright is not registered, then that work does not have copyright protection and is automatically added to the public domain.  (We'd have to work out some window during which a creator can register so that the created work has a provisional or contingent protection, a "pre-copyright" protection, in case they're on walkabout in Australia when the inspiration comes.)  This would also allow people to forego copyright if they didn't want it (today known as "copyleft") without having to go through the hoops of the Creative Commons licensing procedures (but this would also mean that the creator would have no say in how the work gets used in the public domain).

The logistics of this are too complicated for this limited space, but they are mostly legalistic in nature once the umbrella concept of a time-limit for a registered copyright is established (e.g., can someone "own" something in the public domain, such as a Picasso painting hanging in the Metropolitan Museum, or "The Adventures of Huckleberry Finn" in its new Japanese manga version?).  This doesn't make them easy but it does make them doable and possible.

My desire is to get as much material, actual and virtual, into the public domain as possible as quickly as possible without too much interference from the dead hand of the past or the greed of corporations and creators -- as the original act said, in order "to encourage learning."  Twenty-eight years seems enough time for a creator to make his or her money.  My desire is to cut back all the kudzu that has smothered copyright to the point where, now, anything after 1923 is out of bounds, with absurd restrictions like a book not going into the public domain until 70 years after the death of its author.  To me, that's racketeering.

Of course I will not win this argument -- there is too much money at stake.  But it's an argument that still needs to be made.

Michael Bettencourt


I agree with most of Michael Bettencourt's arguments. But the implication of his strong desire toward "public domain" is what concerns me. I don't care about the financial provisos of copyright: protect the creator and the creator's heirs, all for a reasonable time, and then the hell with it... let the bucks be made by the buck-makers. What I do care about is the content, the creation as the creator conceived it. Within most current copyright protection, while the creator is alive, his/her permission is required to change one comma, one note, one choreographic movement, one anything. Once the creator has been de-created, my admonition is that the permission is no longer available. Nothing should be changed. If a creation is to be adapted, write a new version based on the original, but do not, do not use the original words or notes or strokes. If you want to do "Rome&Juliet" Mr. Luhrman (after you find actors who can speak English), write your own. I cite George Bernard Shaw who sent a sheriff with a cease&desist court order at the Broadway opening of one of his plays: do it the way he wrote it or don't do it. If you want to do a Balanchine ballet, do it as he conceived it, or choreograph your own. The argument against my argument is: hey, that's not the way show business works. My answer: Tough shite! Shaw understood the business of show better than almost anyone alive today. Of course, he's dead and his creations? Unprotected.

As I calm down here, I'm fully aware that it is the Internet which has unleashed an irrevocable shattering of copyright protection. The "mashup" is the worse thing that has happened to artistic creation since the invention of television and free agency in baseball. And, as Rebecca Solnit noted in Harper's: The Internet will also "create elaborate justifications for never paying artists or writers." She also notes: "...2014 has turned out quite a bit like [Orwell's] 1984."

Arthur Meiselman

Michael Bettencourt's earlier column: "Dear Mr. Beckett"

Arthur Meiselman's current column: "On Copyright And Cats"

How Now Copyright? - A Response To A Response

Response to Arthur's Response

Citing the "mashup" as "the worst thing that has happened to artistic creation since the invention of television and free agency in baseball" is to forget that the "mashup" is how any art gets made.  No inventor creates something in the way that Athena burst forth from the head of Zeus when Hephaestus cracked open his skull, that is, something without antecedent, without an origin story, without some debt to (dare I say it?) to the "public domain."

This is precisely the point Nina Paley made in stripping her wonderful work, Sita Sings The Blues, of all copyright restrictions: "From the shared culture it came, and back into the shared culture it goes."

For me, the more things there are to mash up into new forms, the better off everyone will be, not just in the arts but in all aspects of intellectual study -- "mashup" is just a synonym for "the free market of ideas," and the public domain, where everybody has a library card to borrow the materials, is where this market can play out the trading that results in new ideas, new practices, new directions.

This fertility -- its power to nourish and propel -- is why we can't follow my colleague's advice and do only "archival performances" (my term, not his) of past work.  Shaw had every right to issue his cease-and-desist then, but I don't think anyone can make a defensible aesthetic argument that his work is well-served by issuing one now on his behalf, and there's certainly no legal basis for it either.

Perhaps Shakespeare is more to the point here, since competing versions of some of his plays defy citing any one manuscript as definitive, Arthur's "the original words."  (Kenneth Branagh, for his film version of Hamlet, simply mashed together every version he could find into one script, which is why the film runs for four hours with an intermission.)  There is no ur-Shakespeare text, and certainly no ur-Shakespeare performance (we have no settled picture of what happened on an Elizabethan stage), and thus no ur-Shakespeare to which we must always remain faithful.  

And even if such a thing did exist, doing R&J in 2014, even following every jot and tittle, will not be the same as a production done in 1614: we can mimic the practice but we can't access the spirit and mind-set of that time.  We are different people living in a different world, and our R&J will be an automatic betrayal of the original.

Rebecca Solnit's point about "the Internet" is a good one in terms of its effects on artists' livelihoods.  However, it's not "the Internet's" fault but the way people use and abuse this vast infrastructure for sharing information -- a subject too large to parse here but one which touches upon the ethic of the public domain and a regulated commons.

But it certainly has thrown into disarray old notions of ownership and control and property and contract, which, to me, is a very good thing since many of these notions were restrictive, exploitative, and rent-seeking, and needed to be challenged.  Going back to a situation where "the permission [to change things] is no longer available" is to go back to the very practices that "the Internet" has up-ended.

The "mashup" is how stuff gets made.  The source material for the mashup is both the universe of all created artifacts and the cultural "air" we all breathe as citizens of some collective.  Given the capitalistic way we have chosen to arrange our current collective, it makes sense to define creation as "property" and afford it some of its protections.

The debate is over the extent and power of those protections, and my contention is to give them a statute of limitations that balances inventors' abilities to make some money off their efforts and the public domain's need for new stuff to mash up.  I believe this is a fair trade, given how the public domain seeds everything of value created by anyone who lives in its midst.

Michael Bettencourt

Nostalgia

Being a quintessential baby boomer, Mister Walsh takes me along on a great fun ride down a nostalgic road, when music and the lyrics were truly memorable. His knowledge and appreciation of that eara is wonderful.

Jimmy Guldin

Patrick Walsh's column: "A Ramble Through The Vinyl"

A New Opera on Stein's First Love Affair

This article has much to recommend it: a young composer to follow, news of a chamber opera on Stein which can be viewed on YouTube, mention of an Aaron Copland song cycle set on Dickinson poems, which was unknown to me. Catnip for lover of Stein, opera, song and poetry!

Teri Rife

Karren LaLonde Alenier's column: A New Opera on Stein's First Love Affair

Vanessa

Santa Fe versus the Met, tells us a great deal about where the depth of our culture is. As Ms Stendhal says: " (Barber's Vanessa...may just provide the modern romantic inspiration we've been waiting for." Bravo for romanticism! Barber and Menotti are indeed a welcome oasis in the face of all the modern, weak offerings, sans passion and often sans lyrical music, Oh, and don't forget Puccini.

Will Paul Winer

Renate Stendhal's review: Samuel Barber's Vanessa

Kiss Me Again, Paris

Wow! With the speed of light I am at the Opera in Paris and cannot wait to know what happens between the two women. The writing is breathtaking and marvelous. Bring on the next tasting.

alvin hirshen

Memoirs can be such troubled things. From the excerpts, however, it seems that Ms Stendhal has a strong hold on her past and a deep strength from her present. Beautifully written.

Kinda Pellicer

Rich, lively and worth sharing. Thanks for taste.

Michael Aptrow

If the Met were anything like Ms Stendhal's Paris Opera, I would haunt its corridors nightly despite its exorbitant ticket prices.

Ginnie Goldman

Excerpts from Renate Stendhal's memoir: "Kiss Me Again, Paris"

About Music

This page contains an archive of all entries posted to RECENT LETTERS in the Music category. They are listed from oldest to newest.

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