MET LIVE HD: L'AMOUR DE LOIN A BREAKTHROUGH PRODUCTION BY ROBERT LEPAGE

STARTLING NEW MET OPERA PRODUCTION ONLY THE SECOND COMPOSED BY A WOMAN

Metropolitan Opera Debut Thursday, Dec. 1, 2016-through Dec. 29

MET LIVE HD: Saturday Dec. 10, 2016

MET ENCORE: Weds. Dec. 21, 2016-6:30pm local time

Photos: Courtesy Metropolitan Opera

Eric Owens in the title role of Jaufre Rudel

by Dwight Casimere

NEW YORK--The Metropolitan Opera's new production of Finnish composer Kaija Saariaho's L'Amour De Loin (Love From Afar)  is significant on many levels. Not only does it star the superlative African American bass-baritone Eric Owens, the opera is only the second written by a woman to be presented by the company, it is also only the fourth time that a woman has conducted from the pit, in this case, Susanna Malkki, who is also from Finland.

Eric Owens as Jaufre Rudel with Susanna Phillips as Clemence

It seemed that the entire fashion and design world turned out the opening night premiere performance at the Metropolitan Opera House. Isaac Mizrahi, for example, was holding court in the Grand Tier lounge area with a group of fellow designers, some of whom wore outfits that rivaled the costume designs onstage. The curtain calls at the opera's dramatic conclusion saw as many luminaries standing and applauding in the front rows, as there were onstage, taking their well-deserved bows.

The Opera's composer Kaija Saariaho

Coming on the heels of a bruising Presidential election, the underlying theme of L'Amour De Loin seemed to resonate with unusual clarity. The opera tells the story of  a famous troubadour,  Jaufre' Rudel, Prince of Blaye, weary of a life of pleasure, who embarks on a search for an idealized, distant love. In his heart, he is resigned to the fact that he will never find it, but a Pilgrim (Le Pelerin in French), sung luminously by mezzo-soprano Tamara Mumford, tells him that she knows  of just such a woman,  Clemence, the Countess of Tripoli, sung brilliantly by Ryan Opera Center of Lyric Opera Chicago alum, and rising Met opera star Susanna Phillips. Her appearance in the final scene is one of the most commanding for a female lead since The Ring.

Tamara Mumford as The Pilgrim with Eric Owens

Jaufre's friends mock him for his longing and his seemingly foolhardy quest, but he embarks upon it any way, forging the tumultuous seas, here represented ingeniously by Production Designer Robert Lepage as strands of thousands of LED lights spanning the stage and protruding out over the orchestra pit. Lepage is best remembered for his Ex Machina rotating planks in the Met's Ring series. Some took exception to his gargantuan movable set in that production. Here, rather than drawing attention to itself, the mechanics are the servants of the art.

Owens, as Jaufre, arrives dramatically at the outset of the opera on an elevated bridge, standing in what resembles a ships prow. The image is commanding and Owens is in superlative voice. He remains so throughout, delivering a performance of emotional gravity and artistic supremacy. Chorus members and dancers, emulating mermaids, pop-up and undulate throughout the performance creating a visually stimulating scene. The opera is a feast for both the eye and the ear.

Set in 12th century France in Aquitaine, which was then an area of  dispute within the Catholic Church in the  Bordeaux region,  with the  the local  French fighting against  the influence of the English monarchy.

Saariaho's score, with its exotic and unorthodox instrumentation, evokes the tumultuous religious and social upheaval of the period through her adept use of tonal coloration. The libretto by Lebanese-born author Amin Maalouf displays the sheer emotional power of poetry.

In many ways, this production is a first of sorts for the Met. There has never been both a female conductor and composer on the same program, and certainly not with a black male lead on the stage. Social significance notwithstanding, this is an artistically superior production on every level. Those who have already seen it would do well to see it again. It is presented live at the Met through Dec. 29 and in Encore Performance on thousands of movie theatre screens worldwide in Met Live HD, Wednesday, December 21 at 6:30pm local time. Visit metopera.org for tickets and information, as well as  fathomevents.com for Live in HD tickets. 

NEW YORK PHILHARMONIC IN MOMENTOUS 175TH ANNIVERSARY SEASON

NY PHIL SALUTES  MUSIC DIRECTOR ALAN GILBERT'S FAREWELL SEASON

Aaron Diehl piano soloist with Music Director Alan Gilbert at the NY Phil's Opening Night Gala
Photo: Nicholas Hunt/Getty Images North America


by Dwight Casimere

Dwight Casimere with the Guest Artist in the Green Room at David Geffen Hall

NEW YORK--The 175th Anniversary Season of the New York Philharmonic not only honors the storied legacy and rich history of one of the world's premier orchestras, it also marks the final season of the organization's bold music director Alan Gilbert.

The New York Philharmonic is the oldest orchestra in the United States, and one of the oldest in the world. With that in mind, the orchestra also celebrated its 175th anniversary in a very 21st century manner; its first-ever live broadcast on Facebook. If you missed the live broadcast, the concert is currently available  On-Demand on the Philharmonic's website at nyphil.org and on You Tube.

The season's Opening Gala Concert kicked things off on a jazzy note, with Grammy Award-winning pianist Aaron Diehl in his New York Philharmonic debut with Gershwin's Concerto in F. Diehl, best known for his collaborations with  Grammy nominated jazz singer Cécile McLorin Salvant, also served as Music Director for the Jazz at Lincoln Center New Orleans Songbook concert series and performed in the New York premiere of Philip Glass’ complete Etudes at the Brooklyn Academy of Music.

The concert began with the New York Premiere of John Corigliano's Stomp for Orchestra,  a rollicking tour de force combining country, bluegrass and jazz, that had the orchestra's players retuning their instruments in order to play the composition's pungent dissonance, and stomping their feet in time to the music in true country music fashion; hence the title. It was a brash and energetic way to start a concert filled with vibrancy.

Aaron Diehl's precise attack was evident from his opening phrases. His erudition and careful restraint at the keyboard allowed Gershwin's percussive melodies to unfold and explode in thunderous fashion. Gilbert kept the orchestra in check with exacting rhythms and perfect balance, allowing Diehl's elegant articulation to ring through. His skill as an improvisational artist came to the fore in the closing cadenzas that allowed him to stretch out and display his considerable keyboard chops. His was a bravura performance in every way. Here's hoping this marquee appearance with the New York Philharmonic cements a place for him at the head of the short list of concert pianists adept at presenting contemporary repertoire, a cause which conductor Gilbert has long championed.

Dvorak's monumental masterpiece New World Symphony concluded the program with a comprehensive reading that gave a new voice to this beloved masterpiece. This performance was part of a season-long, citywide New World initiative to give all New Yorkers an opportunity to discover this landmark work in the city in which it was conceived by the composer. The work will be presented in a series of on and off-site performances before diverse audiences and at outreach events, For more information on the New York Philharmonic's 175h Anniversary Season, visit nyphil.org.

Royal Concertgebouw Orchestra at Carnegie Hall

Royal Concertgebouw proves why it is called "best orchestra in the world" with a brilliantly conceived Mahler Symphony No.5

by Dwight Casimere

NEW YORK, NY--The Royal Concertgebouw Orchestra of Amsterdam is considered by many to be the best symphonic orchestra in the world. Any doubters were certainly silence by a brilliant and pensive reading of Mahler's Symphony No. 5 under the incisive baton of conductor Semyon Bychkov,who has had a long association with the orchestra, dating to 1984. The sympatico between orchestra and conductor was deeply evident throughout the performance.

The program began with Detlev Glanert's Theatrum bestiarum, Songs and Dances for Large Orchestra, which the composer described as a "visit to a zoo of human beings.

"I look at people as animals because sometimes they behave as animals," the composer said of the impetus for the piece, which is at times a bombastic avalanche of sound and rhythms, bringing all of the collective fortitude of the brass and percussion to the fore in some unusual combinations and configurations. The overall effect is an overwhelming avalanche of discordant sounds and aggressive rhythms. The composer was present to walk onstage and receive a thunderous ovation.

Mahler's Symphony No. 5 in C sharp Minor is one of the best examples of the composer's genius at its prime. Its central themes literally dance with vibrant energy. His melodies and use of the horns, woodwinds and percussion echo the sounds of nature and the universe. It contains not only references to the composers own earlier works, but to his musical inpiration, Wagner. There are no angelic voices singing in this work, only the music. As the composer noted in his own words "The human voice would be absolutely out of place here. There is no need for words; everything is expressed in purely musical terms."

Conductor Bychkov found just the right tempos to advance this thunderous work. The Adagietto was almost ethereal as it swept breathlessly into the finale. This was a performance that shone with the bright light of genius, with restraint built in to preserve the element of suspense and sustained energy. The Scherzo brought forth the full color and texture of the orchestra which sparkled like a multi-faceted diamond. This was symphonic music at its finest, with the ability to stir the deepest of emotions and to move one almost to tears with the sweep of a hand or baton. It was truly a jubilant and magical performance.

Broadway In Chicago-The Curious Incident of the Dog in the Night-Time-at the Oriental Theatre now through Dec 24

by Dwight Casimere


                                         

Julliard graduate Adam Langdon's inspired performance of the central character Christopher is just one of the components that makes Broadway In Chicago's current production, The Curious Incident of the Dog in the Night-Time, running now through Christmas Eve, December 24 at the Oriental Theatre in the Loop, the most engrossing offering on any Chicago stage.

If you're a bit weary of all the holiday treacle and looking for something a bit more intellectually and emotionally challenging, this will certainly fill the bill. Be cautioned that this play requires your undivided attention, as the dialogue and monologues are fast-paced and laced with metaphor and hyperbole (there's even a brief discourse on the meaning and significance of metaphor from the on-stage narrator). Even a short lapse in attention span could rob the listener of vital information on the complex plot-points that define an often internal exploration within the psyche of the young male protagonist.

A new play by Simon Stephens, adapted from the best-selling novel of Makrk Haddon, and directed by Tony-award winner Marianne Elliot (War Horse), Curious Incident is the winner of five Tony Awards and is the longest running play on Broadway in the last 10 years and continues to play to sold-out houses in London.

The play tells the journey of 15 year old Christopher, an idiot savant of sorts, with an expanded array of emotional problems and personality quirks. He doesn't like to be touched, he can't bear to talk to strangers, and he exists by means of a daily series of set rituals. For him, nothing is easy. His only saving grace is an occasional epiphany that exhibits a rare flash of genius ("Everyone tells you to be quiet, but they never say for how long!")  

The journey begins on a quiet street in the London suburb where Christopher resides. He discovers the corpse of his neighbors dog, who has been brutally killed. Automatically, the neighbor accuses him of the heinous act. Enter Christopher's weary  father, Ed (Gene Gillette-War Horse), who bails him out of police custody, with multiple admonitions for Christopher to behave himself. We later learn that the father may have been complicite in he act. Regadless, Christopher immediately sets out on a quest to find the real killer of the dog, which sets off a whole series of emotional fireworks within, which are brilliantly represented with dazzling special effects in a black box of a set with a geometric grid created by Tony-Award-winner Bunny Christie and imaginative video effects by Tony Award-winning video designer Finn Ross and lighting by Tony Award-winner Paule Constable.

                                                           

Christopher's father makes a stunning revelation, nonetheless, the boy is set on leaving the safety of his claustrophobic world to roam the streets of London in search of the truth. His encounters with strangers as he develops clues to his mystery and his ability to cope with the obstacles he faces, makes for the elements of the internal drama at the core of this psychological Rubiks cube.  

The Curious Incident is an all-engrossing theatrical experience that may take more than one sitting to fully absorb. My only quibble is that the audio on some of the characters, particularly the mother, and even Christopher in certain moves, was a bit muddled in spots. If you miss one verbal nuance, you've lost a lot of the meaning behind Christopher's actions. So bring, your listening ears and be prepared for a real emotional and psychological roller coaster ride that sums up as one of the most satisfying theatrical experiences you will ever have . The Curious Incident of the Dog in the Night-Time is at the Oriental Theatre through December 24. For more information, visit BroadwayinChicago.com.

SPIRIT CRUISES, THE PERFECT WAY TO END SUMMER WITH A BANG

Story and photos by Dwight Casimere

NEW YORK---The Big Apple is the nation's number one tourism destination. What better way to end the summer with a bang than with a late summer or Labor Day Weekend tour of the city capped off by a Statue of Liberty cruise on the Hudson River, complete with a sumptuous lunch or dinner buffet, spectacular city-scape views, dancing and an up-close-and-personal view of one of the nation's most iconic landmarks.

The Spirit of New York cruise lines, departing Chelsea Pier, offer all of that and more on board their luxury yacht. The cruise travels under the iconic Brooklyn Bridge on beautiful New York Harbor, ending with dramatic, close-up views of the Statue of Liberty. Along the way, dine on a spectacular buffet consisting of delicacies such as Organic Spinach and Kale Salad with Lemon and Oregano Dressing, Creamy Corn and Cheddar Casserole, Whole Roasted Pork Loin, Braised Beef Short Ribs, Oven Baked North Atlantic Sole Filet or Honey and Sesame Chicken. Save room for the groaning dessert table, filled with all of your favorites; cheesecake, chocolate cake, strawberries and vanilla custard, cut seasonal fruit, and that all time local New York favorite, Cannolis.

Work it all off on the dance floor with the Spirit's Celebrity DJ and you have the makings of a spectacular  afternoon or evening. Labor Day Weekend is filled with options, from a romantic dinner cruise to a Eat, Drink and B. Mary Brunch with a Gospel option. There's no end to the fun possibilities on the Spirit of New York!

Spirit Cruises are also available from Navy Pier Chicago on board the Spirit of Chicago. Enjoy special summer Fireworks Cruises off Navy Pier on selected evenings. For lunch or dinner cruise information, visit www.spiritcruises.com.

INDIAN DRAMA "PARCHED" EXPOSES EXPLOITATION OF WOMEN IN EVOCATIVE FILM

PARCHED NOW PLAYING IN NEW YORK'S AMC EMPIRE 25, TIMES SQUARE, LOS ANGELES LAEMMIE MUSIC HALL AND SAN FRANCISCO BAY AREA AT CINE GRAND IN FREMONT AND CAMERA 12 SAN JOSE

Writer/director Leena Yadav, one of the leading female directors in India, has  created a highly captivating drama that unmasks the cultural and ritualistic exploitation and subjugation of women. In vivid detail and beautiful cinematography from the Academy Award winning  Russell Carpenter of Titanic fame, the film follows the lives of three rural Indian women as they begin their slow journey toward bonding to fight the ancient traditions that hold them in servitude. As the film portrays, the oppression of women is all-pervasive, from the type of entertainment they are forced to provide at the local carnival, including providing sexual favors for cash,  rules that exploit their value in the local marketplace, spreading even into the home, where spousal abuse, families who ostracize women for desiring education or for expressing an opinion, and the bartering of children as brides is commonplace.

This award-winning film is brutal in its honesty, but presented in such an atmospheric fashion that the contrasting beauty and humanity of the culture is juxtaposed against the outright brutishness against women. The nuanced lighting and vivid cinematography make the horrific acts against the women even more shocking. 

The women live in a remote desert community of North West India. The widowed Rani (Tannishta Chatterjee, her vivacious best friend Lajjo (Radhika Apte) and exotic dancer Bijli (Surveen Chawla) talk openly about their struggles to overcome the oppression of men and society under the rules and customs of traditional village ways. Sex and women are a commodity to be bought and sold, even down to a teenaged bride sold off to be married to a spoiled 15 year old from a well-to-do family like so much chattel.

Part Bollywood, part suspense drama and part cultural panorama the film captures the beautiful desert landscapes, and rich, texture of village life in a way that transforms PARCHED into a heart-stirring portrayal.

"This story is my reaction to a misogynistic society that treats women as objects of sex," says director and writer Leena Yadav. The film gives the women characters a voice in a way that also emphasizes their humanity and their universal struggle.

PARCHED is distributed by Wolfe Releasing and will be released August 9 by Wolf Video on DVD/VOD and all digital platforms including iTunes, Vimeo On Demand and WolfeOnDemand.com as well as DVD vial Wolfe Video at major retailers.

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WORLD PREMIERE OF BROADWAY BOUND THE SPONGEBOB MUSICAL IN CHICAGO THRU JULY 10

Spongebob Squarepants was created by marine biologist and animator Stephen Hillenburg  out of an unpublished educational comic book. It premiered on Nickelodeon in 1999. Seventeen years, two movies, two Emmys and 12 Kid's Choice Awards and $18 billion dollars in franchise merchandising revenue later, it is on stage in the Pre-Broadway World Premiere of The Spongebob Musical at Chicago's Oriental Theatre, 24 West Randolph, through Sunday, July 10. 

With a roster of Grammy Award winning songwriters, A Tony Award-winning design team and a visionary director, The Spongebob Musical is a highly imaginative, high energy production that transforms the lovable undersea characters of Spongebob Squarepants (Ethan Slater, in his Chicago debut), Squidward Tentacles (Tony and Olivier Award nominee Gavin Lee), Sheldon Plankton (Broadway and Off-Broadway's  Nick Blaemire, and Sandy Cheeks (Broadway's Lilli Cooper of Spring Awakening and Wicked), and a host of  other lovable animated sea creatures magically realized on stage as flesh and blood characters with a brilliant cast, eye-popping sets and an original score from a galaxy of the hottest composers and artists from the worlds of pop, hip-hop, soul, Heavy Metal and vintage Broadway.

Tina Landau, of Chicago's Steppenwofd Theatre, is director, with highly creative scenic designs from the team behind Fun Home, Hedwig and Spring Awakening that takes up the entire front of the house, creating the world of Spongebob's Bikini Bottom that practically spills into the audience,  Spongebob is a full-immersion experience, taking the audience into Spongebob's undersea world with a story that pits the plucky sponge against the forces of total annihilation with a message that even the most unlikely person can become a hero with enough self-belief and heart.

With original songs by Yolanda Adams, Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, John Legend, The Flaming Lips, Cyndi Lauper, They Might Be Giants, T.T., David Bowie and others, with additional songs by Jonathan Coulton, The Spongebob Musical is a rhythm machine that will keep audience members young and old dancing in their seats.

Spongebob is beloved by both the younger set and a devoted following of adults who find its infectious characters and heart-warming themes universally appealing. That characteristic rings true throughout the two and a half hour show. It might seem a little long for the younger set, but there's enough to hold their attention, including moveable set pieces, special effects and high-stepping dance numbers (Squidward steals the show in the second act) that make it a sure-fired success when it reaches Broadway. The Spongebob Musical plays through Sunday, July 10 at Chicago's Oriental Theatre. For tickets and showtimes, visit BroadwayinChicago.com.