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Jill Gardner as Tosca in a still from Boston Lyric Opera. Photo by Jeffrey Dunn.
For its third season of outdoor, summertime opera, Mill City Summer Opera has chosen to stage "Tosca," the Puccini tearjerker, with Jill Gardner in the title role. Artistic director David Lefkowich will direct a staging set in the 1940s, and Brian DeMaris will be the show's music director.
Other cast members include Jake Gardner (Scarpia) and Dinyar Vania (Cavaradossi).
As usual, Mill City will stage the opera outdoors in the Mill City Museum's Ruin Courtyard. The past two seasons ("Pagliacci" and "The Barber of Seville") have mostly sold out, so this is a hot ticket. Tickets to the opening night are on sale now; tickets for six scheduled performances July 12-22, go on sale in mid-May at 612-875-5544, or the opera's website.
Lewis will depart the Minnesota Orchestra after his current contract ends this summer. He will conduct Mahler here on June 12 and will lead two Sommerfest concerts before leaving, said Gwen Pappas, orchestra spokesperson.
His New York post begins in the 2014-15 season, it was announced by the Philharmonic on Feb. 26. Lewis and associate conductor Case Scaglione will assist Alan Gilbert, music director, as well as guest conductors, and will lead educational events and Young People's Concerts.
“We discovered Courtney Lewis after an extensive audition process, and he emerged as a very promising future colleague as our next Assistant Conductor,” said Gilbert in a statement.
Lewis, 29 and born in Belfast, Northern Ireland, made his subscription debut with Minnesota Orchestra with a fully staged production of Humperdinck’s Hansel and Gretel during the 2011–12 season.
He has also served as a Dudamel Fellow with the Los Angeles Philharmonic; he made his debut there in the fall of 2011.
Mr. Lewis is the founder and music director of Boston’s Discovery Ensemble, a chamber orchestra dedicated not only to giving concerts of contemporary and established repertoire but also to bringing live music into the least privileged parts of Boston with workshops in local schools.
Musicians performed Friday at Orchestra Hall./Photos David Joles
The weekend of events at the Minnesota Orchestra proves that healing takes time. Yes, Orchestra Hall was sold out Friday and nearly so on Saturday. And let it be stated unequivocally: everyone was glad to see the musicians back on stage making music in their house.
However, it was easy to see the divisions that linger from the 16-month lockout. Save Our Symphony Minnesota had distributed bright green “Homer Hankies” and patrons waved them furiously inside the hall. Green was the color of the musicians’ buttons, posters, t-shirts, posters and lawn signs during the lockout. This seemed an unmistakable gesture of support for the musicians and at the same time a reminder to the board and administration that they are being watched.
When Gordon Sprenger, the newly elected board chairman, took the stage at intermission with musician Douglas Wright, he was immediately met on Friday night with a few shouts of “Bring Back Osmo!” referring to the former music director Osmo Vanska. On Saturday night, the crowd was more raucous and emphatic with its challenge to Sprenger. In both cases, Sprenger acknowledged the sentiment but made no commitment other than to say, “We’re on it.”
There was at least one shout Saturday of “Fire Henson,” which reveals a deeper drama that is taking place within the organization. The unstated tension that exists between Vanska and CEO Michael Henson came out into the open when Vanska told MPR music host Brian Newhouse in a conversation Saturday that he feels Henson should resign. The statement became public and by the end of the night, Sprenger – who likely had hoped he’d get a chance to preach harmony and collaboration on this first weekend – found himself issuing a statement saying he was disappointed that Vanska had gone public with his opinions. Those comments will have an impact on delicate negotiations that were already going on within the board.
A contingent of fans who supported the musicians during the lockout feel Henson was the villain in the long lockout and want him fired. In large measure, they are drawing on popular support for Vanska (which is undeniably deep and substantial) as a lever to get Henson out the door – based on the notion that the price for Vanska’s return would be Henson’s departure. Vanska’s statement Saturday removed any doubts of where his head is at, even though he did not state it in "Him or Me" terms.
The board, however, clearly does not enjoy having the thinly veiled conflict (actually Osmo removed the veil) between its two most-public figures being turned into an ultimatum. This isn’t said to discount the validity or the sincerity of the opposition, only to state a fact of nonprofit leadership and human nature. The board is made up of volunteers who give large amounts of money to the orchestra, who endured 18 months under the critical public microscope and are now being told, “Fire this guy and hire this guy.”
Supporters of the musicians could legitimately respond, “Tough bounce, you deserve it for what you put your musicians through.”
And with those dynamics, the Minnesota Orchestra appears to be an institution at war with itself. How do you move forward under those circumstances?
Osmo Vänskä, who resigned as music director of Minnesota Orchestra in October of last year, showed up Friday morning at Orchestra Hall in Minneapolis. This photo (above) from the musicians' Facebook page shows Vanska, right, talking with Stanislaw Skrowaczewski, who is conducting the orchestra this weekend in two homecoming concerts at the renovated hall. Principal cellist Tony Ross is at left.
Since the long labor dispute was settled last month, speculation has been rampant about whether Vanska would be asked to return to the orchestra. He resigned Oct. 1, 2013, when management and musicians failed to reach agreement on a new contract in time to permit the orchestra to keep two concert dates at Carnegie Hall last fall.
While Vanska gave a hint via Facebook a couple of weeks ago that he would consider coming back if invited, orchestra management has said only that it is considering its music-director options.
Vanska reportedly still has his residence in Minneapolis, but he has been guest-conducting all over, with recent stops in Lyon, France and at the San Francisco Symphony. He won rave reviews for his concerts in San Francisco, and Bay Area radio station KDFC-FM will rebroadcast (and stream) one of those shows (with music of Sibelius, Stravinsky and Rachmaninoff) on Tuesday, Feb. 11 at 8 p.m. Pacific time.
Here in the Twin Cities, Friday night's concert, including music of Beethoven (Symphony No. 3), Bach (Toccata and Fugue in D minor, orch. Skrowaczewski) and Richard Strauss (Don Juan) will be simulcast
Some musicians will play twice on Saturday (Feb. 8), once at the memorial service for Joan Mondale, and again at the evening homecoming concert at Orchestra Hall.
Watch for full coverage of Friday's concert online at startribune.com and in print on Saturday. A concert review by Larry Fuchsberg will appear in the print edition on Sunday, and online Saturday afternoon.
The Saint Paul Chamber Orchestra will bring violinist Patricia Kopatchinskaja on board for the 2014-15 season as an artistic partner. The SPCO will be the first American orchestra to present the Moldova native in concert.
In a statement Thursday, SPCO president Bruce Coppock called Kopatchinskaja "the most ravishingly intense and virtuosic musician I have heard in a very long time."
Coppock said the violinist draws from her Eastern European roots, a rigorous traditional training and "a seemingly limitless imagination to create performances that are completely convincing, utterly compelling and downright spectacular."
Kopatchinskaja is now based in Bern, Switzerland, and regularly collaborates with the London Philharmonic. She was recently nominated for a Grammy for solo work of Bartok, Eotvos and Ligeti.
"I am thrilled and eager to make music with the SPCO and look forward to exploring new worlds and frontiers with these wonderful musicians," Kopatchinskaja said in a statement. Her first major project with the SPCO will focus on weaving traditional folk music and classic works that come from Eastern European influences.
You can catch a glimpse of her work here.
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