As frequent visitors to Bookish already know from my incessant griping, last week was a bit of a nightmare at the office, and this week, frankly, is not shaping up to be much better. I currently have a hot mess of a case in which I am giving the client advice that she then summarily rejects (OK -- that's her prerogative, but seriously, if you were paying $600 per hour wouldn't you at least consider heeding the advice of the professional in the matter?), but I can assure you when her case goes tits-up because of her failure to follow said advice, she'll still blame yours truly. But I digress. In the midst of all of this pointless head-banging, I had a sublime few days of music, proving that living well is, indeed, the best revenge:
First up, last Thursday evening, was the Metropolitan Opera, for Robert Lepage's new production of Das Rheingold, the first installment of Wagner's Ring Cycle. This season the Met will roll out Das Rheingold and Die Walkure, and next season will see the debuts of the new productions of Siegfried and Gotterdammerung. Now, let me say right up front that I am NOT usually a Wagner kinda gal. However, in an attempt to go outside my musical comfort zone, I snapped up tickets to this highly-anticipated new production, and I was not disappointed. Bryn Terfel led the spectacular cast as Wotan, and James Levine has returned from a bout of ill health to pick up his baton. Lepage (of Cirque du Soleil fame -- or infamy, depending on how you look at it) has given us a stunning set consisting of a huge "Valhalla machine" of twenty-four wide planks that run the entire depth of the stage, and shift and rotate and divide and undulate from scene to scene. I'm not giving you a very good idea of what that looks like, am I? Let me do better: here is a photo of the Rhine maidens (descending from the ceiling against the backdrop of the planks, raised to a vertical position and lit blue to represent the underwater Rhine where the gold is hidden):
And here is a photo supplied by the Met of another scene:
And what the heck . . . here is one of Bryn Terfel as Wotan:
(Photo: Murdock Theatre)
On Friday evening, I found myself at Avery Fisher Hall for the New York Philharmonic's performance of Mahler's 6th. My concert-going buddy "S," who knows her way around a Mahler symphony, thought it was "the best performance of the 6th she had ever heard." Kudos to Mr. Gilbert and the wonderful musicians of the NY Phil.
Sunday afternoon I attended the Vienna Philharmonic's concert at Carnegie Hall, far and away my favorite NYC music venue. Gustav Dudamel conducted the Brahms Tragic Overture, followed by Yo-Yo Ma performing Schumann's Cello Concerto in A minor. So beautiful! After three or four curtain calls, we were then treated to an encore by Yo-Yo Ma of the prelude to Bach's 1st Cello Suite. The second half of the program featured Dvorak's New World Symphony. I found it inexpressibly moving to watch this young Venezuelan conductor leading one of the most "Old World" of all orchestras, in this work featuring motifs from African American spirituals, in the very concert hall where it had its debut performance on 1893. If you go here, you can listen to excerpts of Sunday's Dvorak and Schumann performances.
And lest you think the Bookish NYC world is one great big whirl of high-end cultural events, I am sitting here typing this on Sunday evening while enjoying the latest episode of Hoarders. LOL!