By Guest Critic Donald Rosenberg I hope this doesn’t put us into overtime,” said Marty Merkley, Chautauqua Institution’s vice president and…
One particularly compelling throughline in Shakespeare’s history plays is the maturation of Henry V. When does he morph from the prank-loving, bawdy-house-frequenting Prince Hal into the sage, shrewd, continent-conquering King Henry? Judging from Evan Cabnet’s crisp but thematically questionable production of Henry V, featuring all 13 members of this year’s acting Chautauqua Theater Company Conservatory, that crucial day has yet to arrive.
Text and subtext, sense and nonsense, run riddling through Strohl Art Center, and the visitor can pick their own pertinence, whether lining up with the minds of ancients or the fancies of artists today. Curator Judy Barie has set the terms of engagement; it is called “The Circle/Square Game.”
We could have been on dangerous ground, the way they looked, always checking with each other, furtively, quick glances, as if fulfilling a special scheme to perform this concerto, itself a bit of a mystery — create it as it hadn’t quite been heard before during its century-long presence.
Citizenship found meaning again Thursday evening. It was discovered in the “everyone” who is an immigrant. Not the immigrant “them.”…
My mistake. I initially assumed that the Chautauqua Opera production of Macbeth would be in Norton Hall, a natural setting for this midsize masterpiece of Verdi’s early maturity. Only on my arrival did I realize that it was booked as a one-off in the Amphitheater. Could Macbeth really fill the space à la Aida?
Guest review by: Anthony Bannon Julie Blackmon’s family art walks the tightrope of photography, long the medium of contradictions. Her…
On Thursday night, the Chautauqua Symphony Orchestra presented “Concerto for Viola and Orchestra,” a work Chautauqua Institution co-commissioned from composer Aaron Jay Kernis, with soloist Paul Neubauer in the spotlight. With a raw spirit and exceptional virtuosity, Neubauer beautifully portrayed Kernis’ masterwork, one underpinned by relationships and which focused on folk tunes, as the composer described it from the Amphitheater stage.
When a conductor demonstrates historical knowledge by adjusting the scope of expression to accommodate the composer’s — what a different kind of conductor might call restraint — the audience is in for a treat and an education.
“How could anyone not like this?” exclaimed the lady as the satisfied Amphitheater audience whooped and stomped after the climax. Maestro Bruce Hangen went round calling out and shaking the hand of most everyone in the Chautauqua Symphony Orchestra on Thursday evening, which did not turn out as cold as many overdressed fans thought.