Conductor Sir Charles Mackerras dies at 84 (AP) – NIMBRUNG.NET
Thursday, July 15th, 2010 at 11:08 am
Hot Breaking News about Conductor Sir Charles Mackerras dies at 84 AP
yahoo.com
LONDON – Sir Charles Mackerras, a renowned conductor acknowledged as the leading exponent of Leos Janacek’s operas, has died of cancer. He was 84.
Mackerras died Wednesday night in London, according to the management firm Askonas Holt.
In Britain, Mackerras was associated with English National Opera and the Royal Opera, was formerly principal conductor of Welsh National Opera and principal conductor of the BBC Concert Orchestra.
At various times he also held conducting posts in Germany, Australia, the Czech Republic, the U.S., Austria and France, and he made many highly regarded recordings.
“Charlie Mackerras’ impact on the development of musical performance practice over the last 60 years has been enormous,” Royal Opera music director Antonio Pappano said.
“He was a force of nature, a true man of the theater, who grappled with how to honor a composer’s intentions with the utmost rhythmic flair, drama and enthusiasm.”
Mackerras made his last appearance at the Royal Opera House conducting Janacek’s “The Cunning Little Vixen,” which the house staged at his request.
The conductor did pioneering work on historic performance practices. An early result was his 1959 recording of Handel’s “Water Music,” which challenged the then-conventional lush performances by using the forces Handel had in mind, including 24 oboes.
“We got every wind player in London to come for one session, in the middle of the night, and have a go at it,” Mackerras recalled.
“It was all edited and issued very quickly, in just a few days, and I must say I was a bit frightened that it would sound horrible, but of course just the opposite occurred. It sounded marvelous.”
Mackerras brought the insights of the authentic performance movement to his conducting, notably in his work on Mozart’s music and music of the baroque. In 1966, he added ornamentation to the score of “The Marriage of Figaro” at Sadler’s Wells, recreating his understanding of performance practice in Mozart’s time.
“I’m sure that we went too far in that Sadler’s Wells Figaro, exaggerating in an effort to get people’s attention, but there wasn’t too much opposition,” Mackerras said.
Born in Schenectady, New York, to Australian parents, Mackerras grew up in Australia and studied oboe, piano and composition at the New South Wales Conservatorium of Music in Sydney.
In 1947, Mackerras won a British Council Scholarship to study conducting with Vaclav Talich in Prague, which led to his enduring interest in Janacek.
Mackerras became fluent in Czech and prepared new editions of Janacek’s scores.
He was principal guest conductor of the Czech Philharmonic Orchestra from 1997 to 2003.
Following his studies in Prague, Mackerras was associated with Sadler’s Wells Opera — later English National Opera — where he conducted the first British performance of Janacek’s “Kata Kabanova” and world premieres of Lennox Berkeley’s “Ruth” and Benjamin Britten’s “Noye’s Fludde.”
He made his debut at the Metropolitan Opera in New York in 1972 leading Gluck’s “Orfeo et Euridice,” and the following year he conducted the opening performance at the Sydney Opera House.
Read the whole hot breaking news about Conductor Sir Charles Mackerras dies at 84 AP on Mackerras died Wednesday night in London, according to the management firm Askonas Holt.
In Britain, Mackerras was associated with English National Opera and the Royal Opera, was formerly principal conductor of Welsh National Opera and principal conductor of the BBC Concert Orchestra.
At various times he also held conducting posts in Germany, Australia, the Czech Republic, the U.S., Austria and France, and he made many highly regarded recordings.
“Charlie Mackerras’ impact on the development of musical performance practice over the last 60 years has been enormous,” Royal Opera music director Antonio Pappano said.
“He was a force of nature, a true man of the theater, who grappled with how to honor a composer’s intentions with the utmost rhythmic flair, drama and enthusiasm.”
Mackerras made his last appearance at the Royal Opera House conducting Janacek’s “The Cunning Little Vixen,” which the house staged at his request.
The conductor did pioneering work on historic performance practices. An early result was his 1959 recording of Handel’s “Water Music,” which challenged the then-conventional lush performances by using the forces Handel had in mind, including 24 oboes.
“We got every wind player in London to come for one session, in the middle of the night, and have a go at it,” Mackerras recalled.
“It was all edited and issued very quickly, in just a few days, and I must say I was a bit frightened that it would sound horrible, but of course just the opposite occurred. It sounded marvelous.”
Mackerras brought the insights of the authentic performance movement to his conducting, notably in his work on Mozart’s music and music of the baroque. In 1966, he added ornamentation to the score of “The Marriage of Figaro” at Sadler’s Wells, recreating his understanding of performance practice in Mozart’s time.
“I’m sure that we went too far in that Sadler’s Wells Figaro, exaggerating in an effort to get people’s attention, but there wasn’t too much opposition,” Mackerras said.
Born in Schenectady, New York, to Australian parents, Mackerras grew up in Australia and studied oboe, piano and composition at the New South Wales Conservatorium of Music in Sydney.
In 1947, Mackerras won a British Council Scholarship to study conducting with Vaclav Talich in Prague, which led to his enduring interest in Janacek.
Mackerras became fluent in Czech and prepared new editions of Janacek’s scores.
He was principal guest conductor of the Czech Philharmonic Orchestra from 1997 to 2003.
Following his studies in Prague, Mackerras was associated with Sadler’s Wells Opera — later English National Opera — where he conducted the first British performance of Janacek’s “Kata Kabanova” and world premieres of Lennox Berkeley’s “Ruth” and Benjamin Britten’s “Noye’s Fludde.”
He made his debut at the Metropolitan Opera in New York in 1972 leading Gluck’s “Orfeo et Euridice,” and the following year he conducted the opening performance at the Sydney Opera House.
Mackerras was first conductor at the Hamburg State Opera from 1966 to 1969, and chief conductor of the Sydney Symphony Orchestra from 1982 to 1985.
He was music director of Welsh National Opera (1987-92), principal guest conductor of the Scottish Chamber Orchestra (1992-95), music director of the Orchestra of St. Luke’s in New York (1998-2001), principal guest conductor of the Philharmonia (from 2004) and principal guest conductor of the Czech Philharmonic.
Mackerras was knighted in 1979 and made a Companion of Honor — reserved for 65 living persons of distinction — in 2003.
Mackerras is survived by his wife, Judith, and their two daughters.
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"Inception" gives fans a movie to think about (Reuters) – NIMBRUNG.NET
Wednesday, July 14th, 2010 at 5:09 pm
Hot Breaking News about Inception gives fans a movie to think about Reuters yahoo.com
LOS ANGELES (Reuters) – What’s wrong with this picture? The summer season’s biggest buzz movie has no robots, no vampires, no aliens, no toys, or no comic book characters in iron suits.
Read the whole hot breaking news about Inception gives fans a movie to think about Reuters on And it’s not even in 3D!
But what “Inception,” which debuts in theaters on Friday, does have is Leonardo DiCaprio, “Dark Knight” director Chris Nolan and enough sharp thinking to sink the Titanic.
The big-budget, sci-fi film about a team of freelance dream thieves headed by DiCaprio’s Dom Cobb is no frothy teen dream populated by women in little clothing, men baring their six-pack abs, or robots bashing the pixels out of each other.
Instead, Nolan, who also wrote and produced “Inception,” plunges the audience into the murky and often disturbing depths of the subconscious mind, where anything goes but nothing is quite what it seems.
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Richard Avedon photos headed to Paris auction (AP) – NIMBRUNG.NET
Friday, July 2nd, 2010 at 10:09 am
Hot Breaking News about Richard Avedon photos headed to Paris auction AP yahoo.com
NEW YORK – One of Richard Avedon’s most defining photographs is of a willowy model adorned in a Dior evening gown, a silk sash cascading down her slender leg, striking a dramatic pose against a row of circus elephants.
It is signature Avedon. Dramatic but playful, an image shot on a hot summer day in 1955 at the Cirque d’Hiver in Paris.
An exhibition-size print of the famous picture, “Dovima with elephants,” will be sold this fall in Paris, together with more than 60 other photographs, Christie’s auction house said Friday. It is estimated to sell for $500,000 to $700,000 (euro 400,000 to 600,000). The total Avedon collection is expected to bring $3.7 million to $6 million (euro 3 million to 5 million).
New York-based Avedon Foundation, the largest repository of Avedon works, is for the first time selling photographs from its archive to establish an endowment to promote the work and legacy of the master fashion photographer and portraitist of such famous people as Marilyn Monroe, the Beatles and Malcolm X.
The foundation and Christie’s said it was the largest number of Avedon works to ever come on the market.
Avedon, whose career spanned 60 years, died in 2004 at the age of 81 while on assignment in Texas for The New Yorker. He is famous for creating ultra-choreographed tableaux that seem serendipitous, with elegantly attired models leaping, jumping and dancing across the page. His influence in the fashion world was immense and helped pave the era of the supermodel through his work with Jean Shrimpton, Veruschka and Twiggy.
The Nov. 20 sale will be in Paris, a city with whom the native New Yorker had a decades-long connection, shooting couture collections for Harper’s Bazaar and Vogue. It will coincide with the monthlong Photo Paris festival.
Christie’s made the announcement to The Associated Press before the Rencontres d’Arles photography extravaganza of exhibitions and events in the south of France next week.
“Richard Avedon is by any standards a towering figure in the story of photography,” said Philippe Garner, Christie’s head of 20th-century decorative arts and photographs. “His work has power, authority and intensity, very distinctive signature.”
He called “Dovima” — the name of one of Avedon’s favorite models — “absolutely emblematic of that kind of flair, that pizazz he injected into fashion photography.”
Paul Roth, executive director of the Avedon Foundation, said the “Dovima” was the crown jewel of the sale — and the largest exhibition print of the image ever made. Measuring 88 inches by 60 inches, it was shown on the national tour of Avedon’s 1978 Metropolitan Museum of Art fashion retrospective. It was also the print that for two decades greeted visitors to Avedon’s New York City studio.
Avedon left strict instructions detailing the foundation’s purpose. It was established a year after his death “as his intended vehicle for continuing his legacy” and supporting visual arts and photographic education, Roth said.
In a 1973 interview, Avedon said, “There’s always been a separation between fashion and what I call my ‘deeper’ work. Fashion is where I make my living. … Then there’s the deeper pleasure of doing my portraits.”
People from Marilyn Monroe to Michael Moore coveted having their portraits taken by the photographer, whose signature style was known simply as “The Avedon Look” — unsparing, often unsmiling shots of his subjects against a minimalist white background.
A very small vintage print of a pensive-looking Monroe in a sequined dress taken in 1957 is among the portraits at Christie’s. The auction house predicted it would sell for $100,000 to $150,000 (euro 80,000 to 120,000).
Among Avedon’s other works was a series of images of the civil rights movement. It includes a large photo of Malcolm X, an out-of-focus print from 1963 that was made expressly for Avedon’s retrospective at the Whitney Museum of American Art in 1993. Christie’s estimates it will sell for $10,000 to $15,000 (euro 8,000 to 12,000).
Avedon’s Beatles portfolio, a group of four psychedelic color pictures of each of the Fab Four made at the height of their fame in the late 1960s, is another highlight of the sale. He created nine editions of the portfolio, one of which set an Avedon auction record at a 2005 Christie’s sale, bringing $464,000 (euro 383,471). The one at the upcoming sale has a pre-sale estimate of $300,000 to $500,000 (euro 250,000 to 350,000).
___
Read the whole hot breaking news about Richard Avedon photos headed to Paris auction AP on It is signature Avedon. Dramatic but playful, an image shot on a hot summer day in 1955 at the Cirque d’Hiver in Paris.
An exhibition-size print of the famous picture, “Dovima with elephants,” will be sold this fall in Paris, together with more than 60 other photographs, Christie’s auction house said Friday. It is estimated to sell for $500,000 to $700,000 (euro 400,000 to 600,000). The total Avedon collection is expected to bring $3.7 million to $6 million (euro 3 million to 5 million).
New York-based Avedon Foundation, the largest repository of Avedon works, is for the first time selling photographs from its archive to establish an endowment to promote the work and legacy of the master fashion photographer and portraitist of such famous people as Marilyn Monroe, the Beatles and Malcolm X.
The foundation and Christie’s said it was the largest number of Avedon works to ever come on the market.
Avedon, whose career spanned 60 years, died in 2004 at the age of 81 while on assignment in Texas for The New Yorker. He is famous for creating ultra-choreographed tableaux that seem serendipitous, with elegantly attired models leaping, jumping and dancing across the page. His influence in the fashion world was immense and helped pave the era of the supermodel through his work with Jean Shrimpton, Veruschka and Twiggy.
The Nov. 20 sale will be in Paris, a city with whom the native New Yorker had a decades-long connection, shooting couture collections for Harper’s Bazaar and Vogue. It will coincide with the monthlong Photo Paris festival.
Christie’s made the announcement to The Associated Press before the Rencontres d’Arles photography extravaganza of exhibitions and events in the south of France next week.
“Richard Avedon is by any standards a towering figure in the story of photography,” said Philippe Garner, Christie’s head of 20th-century decorative arts and photographs. “His work has power, authority and intensity, very distinctive signature.”
He called “Dovima” — the name of one of Avedon’s favorite models — “absolutely emblematic of that kind of flair, that pizazz he injected into fashion photography.”
Paul Roth, executive director of the Avedon Foundation, said the “Dovima” was the crown jewel of the sale — and the largest exhibition print of the image ever made. Measuring 88 inches by 60 inches, it was shown on the national tour of Avedon’s 1978 Metropolitan Museum of Art fashion retrospective. It was also the print that for two decades greeted visitors to Avedon’s New York City studio.
Avedon left strict instructions detailing the foundation’s purpose. It was established a year after his death “as his intended vehicle for continuing his legacy” and supporting visual arts and photographic education, Roth said.
In a 1973 interview, Avedon said, “There’s always been a separation between fashion and what I call my ‘deeper’ work. Fashion is where I make my living. … Then there’s the deeper pleasure of doing my portraits.”
People from Marilyn Monroe to Michael Moore coveted having their portraits taken by the photographer, whose signature style was known simply as “The Avedon Look” — unsparing, often unsmiling shots of his subjects against a minimalist white background.
A very small vintage print of a pensive-looking Monroe in a sequined dress taken in 1957 is among the portraits at Christie’s. The auction house predicted it would sell for $100,000 to $150,000 (euro 80,000 to 120,000).
Among Avedon’s other works was a series of images of the civil rights movement. It includes a large photo of Malcolm X, an out-of-focus print from 1963 that was made expressly for Avedon’s retrospective at the Whitney Museum of American Art in 1993. Christie’s estimates it will sell for $10,000 to $15,000 (euro 8,000 to 12,000).
Avedon’s Beatles portfolio, a group of four psychedelic color pictures of each of the Fab Four made at the height of their fame in the late 1960s, is another highlight of the sale. He created nine editions of the portfolio, one of which set an Avedon auction record at a 2005 Christie’s sale, bringing $464,000 (euro 383,471). The one at the upcoming sale has a pre-sale estimate of $300,000 to $500,000 (euro 250,000 to 350,000).
___
Online:
http://www.christies.com
http://www.richardavedon.com
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Homage to Katharine Cornell in ‘Grand Manner’ (AP) – NIMBRUNG.NET
Monday, June 28th, 2010 at 1:08 pm
Hot Breaking News about Homage to Katharine Cornell in Grand Manner AP yahoo.com
New York – It helps in any autobiography to spice up your story, which is exactly what A. R. Gurney does in his new play, “The Grand Manner.”
This warm homage to a bygone theater era is now premiering in a beautifully acted production at Lincoln Center’s Mitzi Newhouse Theatre.
Expanding on a minor incident from his own youth, Gurney humorously embellishes an evening in the life of Peter, an enthusiastic young theater fan. Bobby Steggert plays Gurney’s youthful alter-ego with poise and enthusiastic charm.
A high-school senior, Peter travels to New York City from his boarding school in Connecticut in February 1948, determined to meet the great actress Katharine Cornell (Kate Burton), performing on Broadway as Cleopatra in Shakespeare’s “Antony and Cleopatra.”
Known in her day as The First Lady of the Theater, Cornell agrees to meet Peter backstage after the play to cheer herself up, as they share the home town of Buffalo, N.Y. Burton conveys Cornell’s powerful personality, as well as her private self-doubts, with rueful, melodramatic flair.
In Gurney’s witty, sometimes brittle dialogue, Cornell dramatically criticizes her own performance as Cleopatra, while Peter gamely tries to reassure and praise her. Undeterred, she sweeps about the room, mourning the necessary passing of the torch to a new generation of young actors and the looming incursion of television, which she calls “that fuzzy little box.” Until now, big performances such as hers were what theater audiences expected, hence the “grand manner” of the title.
Boyd Gaines provides a gust of energy in a lively portrayal of Cornell’s husband, the distinguished producer and director Guthrie McClintic. Brenda Wehle is crisply wry as Gert, Cornell’s protective, snappish manager and “great and good friend.”
Events take a slightly darker turn when McClintic assays a casual seduction of Peter, in a tense scene during which Gaines becomes suavely predatory. However, Gurney has slyly written Peter as such a sophisticated teenager that he remains unfazed by this and other sexual revelations, and he is also confident enough to ignore both Gert’s and McClintic’s repeated attempts to get him to leave.
Theater lovers will relish the name dropping of famous friends and casual insider references, as when Cornell mentions that an extra in her current play, one Charlton Heston, has definite possibilities, “once he learns to stop waving that spear around.”
Subtle direction by Mark Lamos, along with elegant period costumes and and a gorgeously furnished set, contribute to the cozy, insular feel of the play.
While “The Grand Manner” makes for a slight play, it’s a nostalgic look back at a turning point for American popular culture, and an empathetic portrayal of a now-forgotten but genuine first lady of the stage.
Read the whole hot breaking news about Homage to Katharine Cornell in Grand Manner AP on This warm homage to a bygone theater era is now premiering in a beautifully acted production at Lincoln Center’s Mitzi Newhouse Theatre.
Expanding on a minor incident from his own youth, Gurney humorously embellishes an evening in the life of Peter, an enthusiastic young theater fan. Bobby Steggert plays Gurney’s youthful alter-ego with poise and enthusiastic charm.
A high-school senior, Peter travels to New York City from his boarding school in Connecticut in February 1948, determined to meet the great actress Katharine Cornell (Kate Burton), performing on Broadway as Cleopatra in Shakespeare’s “Antony and Cleopatra.”
Known in her day as The First Lady of the Theater, Cornell agrees to meet Peter backstage after the play to cheer herself up, as they share the home town of Buffalo, N.Y. Burton conveys Cornell’s powerful personality, as well as her private self-doubts, with rueful, melodramatic flair.
In Gurney’s witty, sometimes brittle dialogue, Cornell dramatically criticizes her own performance as Cleopatra, while Peter gamely tries to reassure and praise her. Undeterred, she sweeps about the room, mourning the necessary passing of the torch to a new generation of young actors and the looming incursion of television, which she calls “that fuzzy little box.” Until now, big performances such as hers were what theater audiences expected, hence the “grand manner” of the title.
Boyd Gaines provides a gust of energy in a lively portrayal of Cornell’s husband, the distinguished producer and director Guthrie McClintic. Brenda Wehle is crisply wry as Gert, Cornell’s protective, snappish manager and “great and good friend.”
Events take a slightly darker turn when McClintic assays a casual seduction of Peter, in a tense scene during which Gaines becomes suavely predatory. However, Gurney has slyly written Peter as such a sophisticated teenager that he remains unfazed by this and other sexual revelations, and he is also confident enough to ignore both Gert’s and McClintic’s repeated attempts to get him to leave.
Theater lovers will relish the name dropping of famous friends and casual insider references, as when Cornell mentions that an extra in her current play, one Charlton Heston, has definite possibilities, “once he learns to stop waving that spear around.”
Subtle direction by Mark Lamos, along with elegant period costumes and and a gorgeously furnished set, contribute to the cozy, insular feel of the play.
While “The Grand Manner” makes for a slight play, it’s a nostalgic look back at a turning point for American popular culture, and an empathetic portrayal of a now-forgotten but genuine first lady of the stage.
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Wiretap tapes key as Blagojevich goes on trial (AP) – NIMBRUNG.NET
Tuesday, June 1st, 2010 at 7:14 pm
Hot Breaking News about Wiretap tapes key as Blagojevich goes on trial APRead the whole hot breaking news about Wiretap tapes key as Blagojevich goes on trial AP on yahoo.com
CHICAGO – Rod Blagojevich has traveled the talk show circuit for months, telling anyone who would listen that he’s innocent of federal charges that he conspired to profit from his power as governor of Illinois to fill President Barack Obama’s former Senate seat.
Now the impeached former governor and his lawyers are finally going to plead their case to a federal court jury in one of the biggest such trials in the annals of this corruption-battered state. At the trial, which begins Thursday, Blagojevich plans to take the stand himself and tell the tale again — but this time, planting enough doubt to overcome the evidence against him could be a tough sell.
Federal prosecutors have 500 hours of secretly made FBI wiretap tapes in which they say Blagojevich is plainly heard saying that he wants something in return for the Senate seat.
“I want to make money,” the 53-year-old, bushy haired Democrat says in a telephone discussion of the seat with a lobbyist friend taped in November 2008, according to an FBI affidavit.
“I’ve got this thing and it’s (expletive) golden, and I’m just not giving it up for (expletive) nothing,” he is quoted as saying on tape made just one month before FBI agents arrived at his front door at dawn and politely notified him that he was under arrest.
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