Thursday, July 31, 2008
Wednesday, July 30, 2008
Sunday, July 27, 2008
rave
Nice to see they loved Phillipe in Vermont:
Entremont wins over Opera House audience
July 27, 2008
By Jim Lowe Staff Writer
BARRE — The Barre Opera House has hosted a number of famous pianists, but the historic concert hall's Steinway concert grand has never sounded like it did Friday evening.
Philippe Entremont, a superstar pianist of the 1960s and '70s, elicited sounds that were big, beautiful and colorful. More importantly, he used these sounds to deliver the grandeur of Debussy.
Entremont was also joined by members of the New York Chamber soloists in music of Poulenc in this Vermont Mozart Festival concert.
But, most of the audience was there to hear this great French pianist and whether, at age 74, he still had "it."
In the 1960s, Entremont was Columbia Records' (now Sony Classical) answer to RCA's Van Cliburn, who had just won the Moscow Tchaikovsky Competition. Unlike Cliburn, Entremont continued concertizing and added conducting to his plate. (He has conducted and acted as piano soloist with the Vermont Symphony Orchestra several times.) During his younger years, Entremont performed and recorded the virtuoso repertoire with the likes of Bernstein and the New York Philharmonic and Ormandy and the Philadelphia Orchestra. Many of these recordings never went out of print.
Which begs the aforementioned question: Can he still do it?
The answer is a resounding yes. And I doubt that there was anyone in Friday's audience who would disagree, given the enthusiastic standing ovation (the only one of the evening, despite some excellent performances by the others).
Entremont plays "macho" Debussy, which seems a contradiction in terms. In this performance of the three movement "Suite pour le piano," his sounds and gestures were big, yet his coloring and nuances were subtle and beautiful.
He worked with the confidence and directness of a master. He knows this music and delivered its myriad moods with authenticity.
Entremont was joined by the young flutist of the New York Chamber Soloists, Jennifer Grim, in Poulenc's Sonata for flute and piano. She played with a brilliant sound and a singing expressiveness. Entremont was a bit reserved but employed his palette of colors with subtlety. (Interestingly, he performed the chamber music with the piano wide open, but never overpowered the others.)
Entremont's charisma was in greater force in Poulenc's Sextuor for winds and piano. This is a masterpiece of color and textures, which the winds largely delivered (particularly Grim on flute and Allen Blustine on clarinet) beautifully.
The remainder of the program was sans Entremont. Grim offered an expressive but less-than-powerful Debussy "Syrinx" for flute alone. Oboist Mel Kaplan, the festival's artistic director, Blustine and bassoonist Andrew Schwartz, despite some roughness, delivered a charming performance of Darius Milhaud's "Suite d'aprè Corrette," while the wind quintet gave a witty performance of Ibert's "Trois Pièces Brèves."
This Vermont Mozart Festival Barre Opera House concert proved an eminently satisfying experience — and more.
Entremont wins over Opera House audience
July 27, 2008
By Jim Lowe Staff Writer
BARRE — The Barre Opera House has hosted a number of famous pianists, but the historic concert hall's Steinway concert grand has never sounded like it did Friday evening.
Philippe Entremont, a superstar pianist of the 1960s and '70s, elicited sounds that were big, beautiful and colorful. More importantly, he used these sounds to deliver the grandeur of Debussy.
Entremont was also joined by members of the New York Chamber soloists in music of Poulenc in this Vermont Mozart Festival concert.
But, most of the audience was there to hear this great French pianist and whether, at age 74, he still had "it."
In the 1960s, Entremont was Columbia Records' (now Sony Classical) answer to RCA's Van Cliburn, who had just won the Moscow Tchaikovsky Competition. Unlike Cliburn, Entremont continued concertizing and added conducting to his plate. (He has conducted and acted as piano soloist with the Vermont Symphony Orchestra several times.) During his younger years, Entremont performed and recorded the virtuoso repertoire with the likes of Bernstein and the New York Philharmonic and Ormandy and the Philadelphia Orchestra. Many of these recordings never went out of print.
Which begs the aforementioned question: Can he still do it?
The answer is a resounding yes. And I doubt that there was anyone in Friday's audience who would disagree, given the enthusiastic standing ovation (the only one of the evening, despite some excellent performances by the others).
Entremont plays "macho" Debussy, which seems a contradiction in terms. In this performance of the three movement "Suite pour le piano," his sounds and gestures were big, yet his coloring and nuances were subtle and beautiful.
He worked with the confidence and directness of a master. He knows this music and delivered its myriad moods with authenticity.
Entremont was joined by the young flutist of the New York Chamber Soloists, Jennifer Grim, in Poulenc's Sonata for flute and piano. She played with a brilliant sound and a singing expressiveness. Entremont was a bit reserved but employed his palette of colors with subtlety. (Interestingly, he performed the chamber music with the piano wide open, but never overpowered the others.)
Entremont's charisma was in greater force in Poulenc's Sextuor for winds and piano. This is a masterpiece of color and textures, which the winds largely delivered (particularly Grim on flute and Allen Blustine on clarinet) beautifully.
The remainder of the program was sans Entremont. Grim offered an expressive but less-than-powerful Debussy "Syrinx" for flute alone. Oboist Mel Kaplan, the festival's artistic director, Blustine and bassoonist Andrew Schwartz, despite some roughness, delivered a charming performance of Darius Milhaud's "Suite d'aprè Corrette," while the wind quintet gave a witty performance of Ibert's "Trois Pièces Brèves."
This Vermont Mozart Festival Barre Opera House concert proved an eminently satisfying experience — and more.
Thursday, July 24, 2008
Wednesday, July 23, 2008
filmin'
Yesterday on broadway and 57th...a great new project with violinist Anastasia Khitruk. Seen also the amazin' Jeff Lynch taking a picture.
Monday, July 21, 2008
Hard days work
It was a thrilling day in nyc and wilford, ct.I'm now enjoying a cigar (my first today) in central park before seeing friends!
Besides a new project, I talked with composer/performer Chris Brubeck, seen in his basement studio (left)
Thursday, July 17, 2008
Calm before the storm
So you may have noticed the lack of posts here...I have made some major moves and changes...and things remain very busy. Besides moving across the country (and I joyously told coworkers today how happy I was to get rid of my snow shovel), I have moved my parents to be closer with me so I might look after them.
Don't lose faith, and feel free to email me! [violinsandcigars at gmail dot com]
But I have just upgraded to a nice laptop and have some work to do in NYC...I'll do my best to keep up with the projects (very exciting) here as I can and have already started several essays!
Don't lose faith, and feel free to email me! [violinsandcigars at gmail dot com]I do still find time for a cigar, as seen this evening near the pool. :)
Thursday, July 10, 2008
I do
Went to a wonderful wedding of friends the start of July in DC...there were charming decorations as you see on the left here at the Mansion at Strathmore.
I was an usher, here are other ushers and wedding party folks on the right.
It was awesome to see the couple and their folks. (left)
I walked Stu's grandmother down the aisle, here she is with her daughter, Stu's mom. (right)More soon about the moving adventures that followed!
Subscribe to:
Posts (Atom)
