Archive: June, 2013
With the c. 1960s Joshua Light Show turning and bubbling away above the Pittsburgh Symphony Orchestra, the Mann Center Tuesday night opened its very-pop-oriented orchestral season. Guitarist Warren Haynes was guest for a "Jerry Garcia Symphonic Celebration," stirring an audience of about 4,400 to dance in the aisles. This slideshow captures some moments back stage and out in the house.
Photos: Peter Dobrin/Inquirer Staff
Gary Steuer, chief cultural officer and director of the City of Philadelphia Office of Arts, Culture and the Creative Economy since 2008, has resigned. He will leave the job Oct. 1 to become president and CEO of the Bonfils-Stanton Foundation in Denver.
“Gary has provided strong and innovative leadership of Philadelphia’s efforts to promote and invest in its arts, culture and creative economy,” said Mayor Nutter in a prepared statement. “His work has been invaluable and I am sorry to see him go. I know that he will be the highly respected civic leader in Denver that he has been here in Philadelphia.”
A new director will be sought. A city spokesman said it was not immediately known what process would be followed in the search — whether a search committee or search firm would be engaged — but Nutter is expected to consult with Steuer and Joseph Kluger, chairman of the mayor’s cultural advisory council.
Peter Nero will lead the Philly Pops in its traditional Independence Day concert this July 3. The concert, in front of Independence Hall, is free. Nero typically does not announce repertoire in advance, but patriotic tune are promised. Excerpts from the Declaration of Independence will be read by Bill Barker, “Philadelphia’s own Thomas Jefferson.” The concert begins at 8 p.m., and audiences are invited to bring lawn chairs and blankets to Independence Mall, between Chestnut and Market Sts. Information: www.phillypops.org or www.welcomeamerica.com.
Sometimes the thing of greatest substance has a way of sneaking into the room unnoticed. This is especially true when you're being distracted by a hirsute figure in drag, or minor royalty of the nymphomaniacal variety swooping about in haute couture.
Friday night at the Perelman Theater, Opera Philadelphia pulled off its greatest piece of work this season, and perhaps in several seasons, with a gorgeously sung and smartly crafted production of Thomas Adès' Powder Her Face. Director William Kerley knew there was already enough camp and melodrama built into the unraveling of 20th century tabloid fixture Margaret, Duchess of Argyll without boldfacing its drama in hot-pink neon. More critical to making this piece the lurid masterpiece it is are the cartoons and grotesques in the score. With only 17 musicians in the pit, Adès has enough confidence in his listener to be constantly turning on a dime. If there is one stylistic rule to our time - in film, literature, architecture and music - it is that the idea that a ruling aesthetic is no more. Pluralism reigns. Composers have argued as much for decades, but surely no one has done so as emphatically, and so beautifully within the framework of single pieces, as Adès.
Powder Her Face was premiered 18 years ago, and yet its cascading pastiche now seems only more a product of our time. Any musical quote (some are vague, others overt) can and will be referenced to make a point. Adès comes up with a gloriously understated musical punch line at the conclusion of the most notoriously graphic sex act in modern opera: when the deed is done, lust doesn’t lean back sated; with the soft pop of a harp, it passes like a tiny iridescent bubble.
After waiting three hours for a flight to take off in Beijing, touring musicians of the Philadelphia Orchestra serenaded fellow passengers with a little Dvorak. The acoustics are surprisingly good, though the camera operator could use some pointers. Still, this should be standard procedure on all delayed flights.