The Orpheum Theatre in downtown Minneapolis.
During Northrop Auditorium’s multi-year renovation, the Orpheum Theatre has served as primary venue for local appearances by visiting ballet companies, all the while continuing to host touring Broadway productions too large and too complex for the State and Pantages theaters.
I believe Northrop is scheduled to reopen in 2014, but I may be wrong—I have made no effort at all to keep up with Northrop’s progress, as I truly am not all that interested in the matter.
Showing posts with label Ballet. Show all posts
Showing posts with label Ballet. Show all posts
Wednesday, July 3, 2013
Another List
This is a chronological listing—a very, very short one—of the dance performances Andrew and I attended in the last twelve months.
Dance performances worth attending last season were few and far between—never before had Andrew and I attended so few dance performances—and the upcoming season in the Twin Cities promises no better.
________________________________________________
New York City Ballet
Orpheum Theatre
Minneapolis
Polyphonia [Christopher Wheeldon/György Ligeti]
Duo Concertant [George Balanchine/Igor Stravinsky]
Herman Schmerman Pas de Deux [William Forsythe/Thom Willems]
Zakouski [Peter Martins/Various]
Hallelujah Junction [Peter Martins/John Adams]
________________________________________________
Joffrey Ballet
Orpheum Theatre
Minneapolis
Son of Chamber Symphony [Stanton Welch/John Adams]
In the Middle, Somewhat Elevated [William Forsythe/Thom Willems]
The Rite Of Spring [Vaslav Nijinsky/Igor Stravinsky]
________________________________________________
MOMIX
The Cowles Center
Minneapolis
Botanica [Moses Pendleton/Various]
________________________________________________
Our primary bout of ballet-going for last season, planned for October, had to be cancelled owing to Andrew’s influenza. We had tickets for three performances at New York City Ballet—six Balanchine/Stravinsky masterworks alone—and we had to give the tickets to friends.
I last updated this list on June 30, 2012.
Dance performances worth attending last season were few and far between—never before had Andrew and I attended so few dance performances—and the upcoming season in the Twin Cities promises no better.
________________________________________________
New York City Ballet
Orpheum Theatre
Minneapolis
Polyphonia [Christopher Wheeldon/György Ligeti]
Duo Concertant [George Balanchine/Igor Stravinsky]
Herman Schmerman Pas de Deux [William Forsythe/Thom Willems]
Zakouski [Peter Martins/Various]
Hallelujah Junction [Peter Martins/John Adams]
________________________________________________
Joffrey Ballet
Orpheum Theatre
Minneapolis
Son of Chamber Symphony [Stanton Welch/John Adams]
In the Middle, Somewhat Elevated [William Forsythe/Thom Willems]
The Rite Of Spring [Vaslav Nijinsky/Igor Stravinsky]
________________________________________________
MOMIX
The Cowles Center
Minneapolis
Botanica [Moses Pendleton/Various]
________________________________________________
Our primary bout of ballet-going for last season, planned for October, had to be cancelled owing to Andrew’s influenza. We had tickets for three performances at New York City Ballet—six Balanchine/Stravinsky masterworks alone—and we had to give the tickets to friends.
I last updated this list on June 30, 2012.
Tuesday, June 11, 2013
Isadora Duncan At The Portal Of The Parthenon
Isadora Duncan at the portal of the Parthenon, Athens, in a 1921 photograph by Edward Steichen.
George Balanchine witnessed one Duncan performance—and for him that was enough. Balanchine’s verdict on Duncan: “a drunk fat woman who for hours was rolling around like a pig”.
Saturday, October 27, 2012
Polyphonia
“Polyphonia”, Christopher Wheeldon’s ballet set to piano music of György Ligeti, which we saw Wednesday night, danced by New York City Ballet.
Wheeldon created “Polyphonia” in 2001 expressly for New York City Ballet.
New York City Ballet’s visit to Minneapolis this week was the company’s first appearance in the Twin Cities in 28 years.
Wheeldon created “Polyphonia” in 2001 expressly for New York City Ballet.
New York City Ballet’s visit to Minneapolis this week was the company’s first appearance in the Twin Cities in 28 years.
Thursday, October 11, 2012
Not According To Plan
This week has not proceeded as planned.
Andrew and I were supposed to go to New York on Tuesday. Andrew was to attend a conference on Wednesday, Thursday and Friday, and I had received permission from my firm to go to New York, too, and to work out of the firm’s New York office.
On Sunday afternoon, Andrew took ill. As things turned out, he had come down with influenza.
Andrew has not yet decided who is to blame for his travails: my sister, visiting us last weekend from Chicago, where influenza has stricken; Tim, several of whose first-grade classmates have taken ill with influenza; or pianist Simone Dinnerstein, whose Sunday afternoon recital, according to Andrew, would have made anyone ill.
Andrew has been bedridden since Monday morning. In almost seven years, I had never seen Andrew sick until this week.
Andrew’s mother has come over every day this week to stay with him while I am at work, always to be at hand in case he needs something. She brings the dog, and she stays all day—and, late each afternoon, she even prepares dinner.
All week, when I have come home from work, my dinner has been ready—and Alex (who lives next door) joins us for dinner, as does Andrew’s father. As soon as dinner is over, everyone returns home, leaving me to look out for a patient who does little else but sleep twenty hours a day and drink a cup of hot tea now and again.
Andrew and I had tickets for several New York performances, and on Monday we gave the tickets to a friend able to make use of them.
Our friend had already arranged to take vacations days for this shortened workweek in order to resurface the floors of her condominium. When we had asked her whether her sister (who lives and works in New York) might want some or all of our tickets, her response was, “Let me see if I can use miles to get a reasonable last-minute fare to New York—if so, I’ll take the tickets myself, and go and visit her.”
And that’s precisely how things resolved themselves.
We had tickets for a Metropolitan Opera performance of Verdi’s “Otello”. The scheduled conductor was Semyon Bychkov, whom some persons believe has become good in the last ten years and whom we were eager to hear. The scheduled Otello was Johan Botha, a singer supposedly in possession of a glorious voice (but a singer not known as much of an actor). The scheduled Iago was Falk Struckmann, a fine Central European artist. The scheduled Desdemona was Renee Fleming, whom I have not heard. Although I am not an opera fan, I am sorry we missed “Otello”. I was actually looking forward to the performance.
We had tickets for three performances of New York City Ballet. It was to be our primary bout of ballet-going for the year.
One of the programs was to feature two rarely-performed high-modernist masterpieces I have never seen (current practice at NYCB is for the two ballets to be performed back-to-back on the same program): the Balanchine/Stravinsky “Momentum pro Gesualdo” (1960); and the Balanchine/Stravinsky “Movements For Piano And Orchestra” (1963).
The program also was to include the Balanchine/Stravinsky “Duo Concertant”, which I already know from a previous NYCB performance (and which NYCB will perform in Minneapolis in two weeks); a Jerome Robbins’s ballet without a musical score, “Moves” (1959), a ballet entirely new to me; and the Balanchine/Bizet “Symphony In C” (1947), which I have seen performed by Miami City Ballet.
The second of the programs was to feature a new Wheeldon/Bizet ballet, “Les Carillons”, premiered in January of this year; a repeat performance of “Moves”; and the Balanchine/Stravinsky “Stravinsky Violin Concerto” (1972), a seminal Balanchine masterpiece I have never encountered.
The final program involved three Balanchine/Stravinsky ballets: “Apollo” (1928), which I know from a Boston Ballet performance; “Agon” (1957), another high-modernist masterpiece I have not seen and which Andrew says is one of the most important works of art from the last 60 years; and “Rubies” (1967), which I have seen danced by Boston Ballet and Miami City Ballet.
Eight vital, essential Balanchine works, danced by the world’s finest ballet company: we shall miss everything. We both are very disappointed.
We also had tickets for two shows on Broadway: a new production of Ibsen’s “An Enemy Of The People”; and a revival of the Andrew Lloyd Webber musical, “Evita”—which, for inexplicable reasons, both of us had wanted to see.
We also were in possession of sixteen complimentary tickets to four different performances of a single program at the New York Philharmonic—we had four complimentary tickets for each night of this week’s subscription concerts.
The New York Philharmonic is papering Avery Fisher Hall like crazy these days for nights on which Alan Gilbert is on the podium. The organization is so desperate to get people into the hall that anyone and everyone can obtain unlimited complimentary tickets to New York Philharmonic concerts on Alan Gilbert nights.
We were almost certain NOT to use the NYPO tickets on account of principle. A couple of years ago, a summer music camp in Scandinavia founded and formerly run by this week’s NYPO guest artist had been quietly seized—it was first taken over, and later shut down entirely—by the musician’s national government on account of pedophilia allegations (for which the musician, his nation’s most prominent instrumentalist, has not been prosecuted). We had retained the tickets in the event we were to experience an unlikely change of heart and wished to see—and photograph—a Jerry Sandusky-like figure playing a musical instrument while Alan Gilbert beat time alongside.
Our friend who took our various tickets ended up throwing away all sixteen NYPO tickets yesterday. Her sister, who works for a Big Three Accounting Firm, had tried to give the tickets away at her office on Tuesday and Wednesday. There was not a single taker—not even for the Friday and Saturday night concerts.
Last night’s concert and tonight’s concert played to virtually empty houses, as one may see from numerous Twitter photos tweeted by concertgoers.
For instance, tonight a NYPO concertgoer tweeted a photo showing that the orchestra level was less than one-fifth occupied. A second concertgoer tweeted a photo showing that tonight’s left-side balcony boxes were occupied by only a handful of persons.
It was not a good night for Alan Gilbert.
Nor for pedophiles.
Andrew and I were supposed to go to New York on Tuesday. Andrew was to attend a conference on Wednesday, Thursday and Friday, and I had received permission from my firm to go to New York, too, and to work out of the firm’s New York office.
On Sunday afternoon, Andrew took ill. As things turned out, he had come down with influenza.
Andrew has not yet decided who is to blame for his travails: my sister, visiting us last weekend from Chicago, where influenza has stricken; Tim, several of whose first-grade classmates have taken ill with influenza; or pianist Simone Dinnerstein, whose Sunday afternoon recital, according to Andrew, would have made anyone ill.
Andrew has been bedridden since Monday morning. In almost seven years, I had never seen Andrew sick until this week.
Andrew’s mother has come over every day this week to stay with him while I am at work, always to be at hand in case he needs something. She brings the dog, and she stays all day—and, late each afternoon, she even prepares dinner.
All week, when I have come home from work, my dinner has been ready—and Alex (who lives next door) joins us for dinner, as does Andrew’s father. As soon as dinner is over, everyone returns home, leaving me to look out for a patient who does little else but sleep twenty hours a day and drink a cup of hot tea now and again.
Andrew and I had tickets for several New York performances, and on Monday we gave the tickets to a friend able to make use of them.
Our friend had already arranged to take vacations days for this shortened workweek in order to resurface the floors of her condominium. When we had asked her whether her sister (who lives and works in New York) might want some or all of our tickets, her response was, “Let me see if I can use miles to get a reasonable last-minute fare to New York—if so, I’ll take the tickets myself, and go and visit her.”
And that’s precisely how things resolved themselves.
We had tickets for a Metropolitan Opera performance of Verdi’s “Otello”. The scheduled conductor was Semyon Bychkov, whom some persons believe has become good in the last ten years and whom we were eager to hear. The scheduled Otello was Johan Botha, a singer supposedly in possession of a glorious voice (but a singer not known as much of an actor). The scheduled Iago was Falk Struckmann, a fine Central European artist. The scheduled Desdemona was Renee Fleming, whom I have not heard. Although I am not an opera fan, I am sorry we missed “Otello”. I was actually looking forward to the performance.
We had tickets for three performances of New York City Ballet. It was to be our primary bout of ballet-going for the year.
One of the programs was to feature two rarely-performed high-modernist masterpieces I have never seen (current practice at NYCB is for the two ballets to be performed back-to-back on the same program): the Balanchine/Stravinsky “Momentum pro Gesualdo” (1960); and the Balanchine/Stravinsky “Movements For Piano And Orchestra” (1963).
The program also was to include the Balanchine/Stravinsky “Duo Concertant”, which I already know from a previous NYCB performance (and which NYCB will perform in Minneapolis in two weeks); a Jerome Robbins’s ballet without a musical score, “Moves” (1959), a ballet entirely new to me; and the Balanchine/Bizet “Symphony In C” (1947), which I have seen performed by Miami City Ballet.
The second of the programs was to feature a new Wheeldon/Bizet ballet, “Les Carillons”, premiered in January of this year; a repeat performance of “Moves”; and the Balanchine/Stravinsky “Stravinsky Violin Concerto” (1972), a seminal Balanchine masterpiece I have never encountered.
The final program involved three Balanchine/Stravinsky ballets: “Apollo” (1928), which I know from a Boston Ballet performance; “Agon” (1957), another high-modernist masterpiece I have not seen and which Andrew says is one of the most important works of art from the last 60 years; and “Rubies” (1967), which I have seen danced by Boston Ballet and Miami City Ballet.
Eight vital, essential Balanchine works, danced by the world’s finest ballet company: we shall miss everything. We both are very disappointed.
We also had tickets for two shows on Broadway: a new production of Ibsen’s “An Enemy Of The People”; and a revival of the Andrew Lloyd Webber musical, “Evita”—which, for inexplicable reasons, both of us had wanted to see.
We also were in possession of sixteen complimentary tickets to four different performances of a single program at the New York Philharmonic—we had four complimentary tickets for each night of this week’s subscription concerts.
The New York Philharmonic is papering Avery Fisher Hall like crazy these days for nights on which Alan Gilbert is on the podium. The organization is so desperate to get people into the hall that anyone and everyone can obtain unlimited complimentary tickets to New York Philharmonic concerts on Alan Gilbert nights.
We were almost certain NOT to use the NYPO tickets on account of principle. A couple of years ago, a summer music camp in Scandinavia founded and formerly run by this week’s NYPO guest artist had been quietly seized—it was first taken over, and later shut down entirely—by the musician’s national government on account of pedophilia allegations (for which the musician, his nation’s most prominent instrumentalist, has not been prosecuted). We had retained the tickets in the event we were to experience an unlikely change of heart and wished to see—and photograph—a Jerry Sandusky-like figure playing a musical instrument while Alan Gilbert beat time alongside.
Our friend who took our various tickets ended up throwing away all sixteen NYPO tickets yesterday. Her sister, who works for a Big Three Accounting Firm, had tried to give the tickets away at her office on Tuesday and Wednesday. There was not a single taker—not even for the Friday and Saturday night concerts.
Last night’s concert and tonight’s concert played to virtually empty houses, as one may see from numerous Twitter photos tweeted by concertgoers.
For instance, tonight a NYPO concertgoer tweeted a photo showing that the orchestra level was less than one-fifth occupied. A second concertgoer tweeted a photo showing that tonight’s left-side balcony boxes were occupied by only a handful of persons.
It was not a good night for Alan Gilbert.
Nor for pedophiles.
Wednesday, August 8, 2012
One Year Ago Today
Saturday, June 30, 2012
The McGuire

The McGuire Theater at The Walker Art Center.
The McGuire seats only 385 persons, but the size of its stage is that of an 1100-seat theater. The same is true of the theater’s technical specifications and backstage amenities, all designed to accommodate complicated productions of a large dance company.
The McGuire is, by far, the ugliest theater I have ever entered.
Andrew says the McGuire is the ugliest theater on the planet.
Andrew’s mother calls the McGuire “a horror”.
Andrew’s father says it is regrettable that the McGuire is fireproof.
Another List
Below is a chronological listing of dance performances Andrew and I attended over the past year.
________________________________________________
Mariinsky Ballet
Royal Opera House, Covent Garden
London
Swan Lake [Peter Illich Tchaikovsky/Marius Petipa-Konstantin Sergeyev]
________________________________________________
Mariinsky Ballet
Royal Opera House, Covent Garden
London
La Bayadere [Ludwig Minkus/Marius Petipa-Vakhtang Chabukiani-Vladimir Ponomarev]
________________________________________________
Scottish Ballet
Orpheum Theatre
Minneapolis
Kings 2 Ends [Wolfgang Amadeus Mozart-Steve Reich/Jorma Elo]
Song Of The Earth [Gustav Mahler/Kenneth MacMillan]
________________________________________________
Merce Cunningham Dance Company
McGuire Theater, Walker Art Center
Minneapolis
Antic Meet [John Cage/Merce Cunningham]
RainForest [David Tudor/Merce Cunningham]
Pond Way [Brian Eno/Merce Cunningham]
________________________________________________
Houston Ballet
Orpheum Theatre
Minneapolis
ONE/end/ONE [Wolfgang Amadeus Mozart/Jorma Elo]
In The Night [Frederic Chopin/Jerome Robbins]
Rush [Bohuslav Martinu/Christopher Wheeldon]
________________________________________________
Ballet Preljocaj
Orpheum Theatre
Minneapolis
Snow White [Gustav Mahler/Angelin Preljocaj]
________________________________________________
Alvin Ailey American Dance Theater
Orpheum Theatre
Minneapolis
Arden Court [William Boyce/Paul Taylor]
Minus 16 [Popular Music/Ohad Naharin]
Revelations [Spirituals/Alvin Ailey]
________________________________________________
Kansas City Ballet
Kauffman Center For The Performing Arts
Kansas City
Serenade [Peter Illich Tchaikovsky/George Balanchine]
Afternoon Of A Faun [Claude Debussy/Jerome Robbins]
Les Gentilhommes [George Frideric Handel/Peter Martins]
Souvenirs [Samuel Barber/Todd Bolender]
________________________________________________
Our rate of dance-going did not decline last season, even though Minneapolis lacks a full-time, large-scale ballet company. Andrew and I attended roughly the same number of dance performances last season as we had the previous three seasons, when we had enjoyed easy access to Boston Ballet and New York City Ballet.
Last season was the first time since I met Andrew that we did not attend a performance of New York City Ballet. To make amends, we SHALL see New York City Ballet next season, because NYCB will visit Minneapolis—and will even bring its own orchestra.
There are two full-time, small-scale ballet/modern dance companies based in the Twin Cities, James Sewell Ballet and Minnesota Dance Theatre, but we never attend any of their performances. Perhaps we are foolish for ignoring them.
Next season, four different organizations in the Twin Cities will present visiting dance troupes.
The Northrop Dance Series, under the auspices of The University Of Minnesota, remains the big-budget sponsor of visiting dance companies. Northrop is the sponsor of NYCB’s upcoming visit to Minneapolis as well as next season’s visits by the Joffrey and Béjart companies, among many others.
The new Cowles Center For The Performing Arts in downtown Minneapolis—which we have not yet visited—will offer a full array of modern-dance events next season.
The Ordway Center in Saint Paul, too, presents a modern-dance series.
The McGuire Theater at The Walker Art Center is also home to numerous modern-dance presentations.
Over the last few decades, Minneapolis has become a center of sorts for modern dance, perhaps the most important after New York. There is a sizable and dedicated audience for modern dance here—but I have a limited appetite for modern dance, and remain indifferent to the proliferation of modern-dance activity around town.
Next season, we will make a point of catching NYCB, the Joffrey and the Béjart—but I doubt whether we will attend many of the other events.
I last updated this list on July 8, 2011.
________________________________________________
Mariinsky Ballet
Royal Opera House, Covent Garden
London
Swan Lake [Peter Illich Tchaikovsky/Marius Petipa-Konstantin Sergeyev]
________________________________________________
Mariinsky Ballet
Royal Opera House, Covent Garden
London
La Bayadere [Ludwig Minkus/Marius Petipa-Vakhtang Chabukiani-Vladimir Ponomarev]
________________________________________________
Scottish Ballet
Orpheum Theatre
Minneapolis
Kings 2 Ends [Wolfgang Amadeus Mozart-Steve Reich/Jorma Elo]
Song Of The Earth [Gustav Mahler/Kenneth MacMillan]
________________________________________________
Merce Cunningham Dance Company
McGuire Theater, Walker Art Center
Minneapolis
Antic Meet [John Cage/Merce Cunningham]
RainForest [David Tudor/Merce Cunningham]
Pond Way [Brian Eno/Merce Cunningham]
________________________________________________
Houston Ballet
Orpheum Theatre
Minneapolis
ONE/end/ONE [Wolfgang Amadeus Mozart/Jorma Elo]
In The Night [Frederic Chopin/Jerome Robbins]
Rush [Bohuslav Martinu/Christopher Wheeldon]
________________________________________________
Ballet Preljocaj
Orpheum Theatre
Minneapolis
Snow White [Gustav Mahler/Angelin Preljocaj]
________________________________________________
Alvin Ailey American Dance Theater
Orpheum Theatre
Minneapolis
Arden Court [William Boyce/Paul Taylor]
Minus 16 [Popular Music/Ohad Naharin]
Revelations [Spirituals/Alvin Ailey]
________________________________________________
Kansas City Ballet
Kauffman Center For The Performing Arts
Kansas City
Serenade [Peter Illich Tchaikovsky/George Balanchine]
Afternoon Of A Faun [Claude Debussy/Jerome Robbins]
Les Gentilhommes [George Frideric Handel/Peter Martins]
Souvenirs [Samuel Barber/Todd Bolender]
________________________________________________
Our rate of dance-going did not decline last season, even though Minneapolis lacks a full-time, large-scale ballet company. Andrew and I attended roughly the same number of dance performances last season as we had the previous three seasons, when we had enjoyed easy access to Boston Ballet and New York City Ballet.
Last season was the first time since I met Andrew that we did not attend a performance of New York City Ballet. To make amends, we SHALL see New York City Ballet next season, because NYCB will visit Minneapolis—and will even bring its own orchestra.
There are two full-time, small-scale ballet/modern dance companies based in the Twin Cities, James Sewell Ballet and Minnesota Dance Theatre, but we never attend any of their performances. Perhaps we are foolish for ignoring them.
Next season, four different organizations in the Twin Cities will present visiting dance troupes.
The Northrop Dance Series, under the auspices of The University Of Minnesota, remains the big-budget sponsor of visiting dance companies. Northrop is the sponsor of NYCB’s upcoming visit to Minneapolis as well as next season’s visits by the Joffrey and Béjart companies, among many others.
The new Cowles Center For The Performing Arts in downtown Minneapolis—which we have not yet visited—will offer a full array of modern-dance events next season.
The Ordway Center in Saint Paul, too, presents a modern-dance series.
The McGuire Theater at The Walker Art Center is also home to numerous modern-dance presentations.
Over the last few decades, Minneapolis has become a center of sorts for modern dance, perhaps the most important after New York. There is a sizable and dedicated audience for modern dance here—but I have a limited appetite for modern dance, and remain indifferent to the proliferation of modern-dance activity around town.
Next season, we will make a point of catching NYCB, the Joffrey and the Béjart—but I doubt whether we will attend many of the other events.
I last updated this list on July 8, 2011.
Saturday, March 3, 2012
Concert Exhaustion
I suffer from concert exhaustion at present, and so does Andrew.
We heard two orchestral concerts last weekend, and two orchestral concerts the weekend before that. Since January 1, we have attended eight concerts and recitals. That is a heavier dosage of concerts and recitals than I normally prefer.
So what is on our schedule for this weekend? A recital by pianist Imogen Cooper at Sundin Music Hall.
Despite our recent flurry of concert activity, I am happy to go to the recital. Cooper has announced a program of Haydn, Beethoven, Brahms, Chopin and Schumann. The fare is appealing.
The concert will be sponsored by The Frederic Chopin Society of Minneapolis.
Minnesota is home to countless organizations with 19th-Century do-gooder titles, such as The Frederic Chopin Society and The Schubert Club, two prominent Twin Cities music organizations. The concept of self-improvement lives on in Minnesota if nowhere else.
I have never been inside Sundin Music Hall. It is one of several concert halls in the Twin Cities I have never visited.
I continue to be astonished how many fine music venues there are in Minneapolis-Saint Paul. There are more fine music venues in the Twin Cities than there are in London—and the Greater London Metropolitan Area has ten times the population of the Twin Cities Greater Metropolitan Area—and additional Twin Cities music venues are in the works, what with a second concert hall at The Ordway now under construction.
The following weekend, I think we may attend a performance of Donizetti’s opera, “Lucia di Lammermoor”, to be presented by Minnesota Opera. Andrew and I had planned to skip this particular Minnesota Opera presentation because neither of us is fond of the music of Donizetti, but word-of-mouth from insiders privy to rehearsal results has been exceptional—and the positive word-of-mouth from music professionals has caused Andrew and me to reassess the situation.
The soprano scheduled to sing Lucia sang the role last autumn at Lyric Opera Of Chicago, a far more important company than Minnesota Opera, and she has been a regular presence at the Metropolitan Opera for the last three or four years. Andrew and I decided we would be foolish to miss out, especially since Minnesota Opera mounts only five productions each season.
The following weekend, we shall attend a Minnesota Orchestra concert of music by Sibelius, Szymanowski and Kodaly. We shall use the subscription tickets of Andrew’s parents, as they shall be in France.
Three days later, we shall hear violinist Christian Tetzlaff in solo recital at Mann Concert Hall. We bought our tickets this afternoon once we discovered that some seats had been placed on sale for $10.00. We decided that to hear Tetzlaff play solo violin literature by Bach and Bartok for a mere $10.00 was irresistible.
The following weekend, we shall attend a performance by Houston Ballet, which will be on tour in the Twin Cities. Since Andrew’s parents will still be in France, we shall use their tickets.
In the month of March, we WILL forego two concerts by the Saint Paul Chamber Orchestra, concerts that we had earlier penciled into our calendars. Both programs are predominantly devoted to Haydn symphonies, which I love—but our recent surfeit of concert-going resulted in the two SPCO Haydn programs being removed from our list.
Something had to go . . . and the SPCO Haydn programs took the hit.
We heard two orchestral concerts last weekend, and two orchestral concerts the weekend before that. Since January 1, we have attended eight concerts and recitals. That is a heavier dosage of concerts and recitals than I normally prefer.
So what is on our schedule for this weekend? A recital by pianist Imogen Cooper at Sundin Music Hall.
Despite our recent flurry of concert activity, I am happy to go to the recital. Cooper has announced a program of Haydn, Beethoven, Brahms, Chopin and Schumann. The fare is appealing.
The concert will be sponsored by The Frederic Chopin Society of Minneapolis.
Minnesota is home to countless organizations with 19th-Century do-gooder titles, such as The Frederic Chopin Society and The Schubert Club, two prominent Twin Cities music organizations. The concept of self-improvement lives on in Minnesota if nowhere else.
I have never been inside Sundin Music Hall. It is one of several concert halls in the Twin Cities I have never visited.
I continue to be astonished how many fine music venues there are in Minneapolis-Saint Paul. There are more fine music venues in the Twin Cities than there are in London—and the Greater London Metropolitan Area has ten times the population of the Twin Cities Greater Metropolitan Area—and additional Twin Cities music venues are in the works, what with a second concert hall at The Ordway now under construction.
The following weekend, I think we may attend a performance of Donizetti’s opera, “Lucia di Lammermoor”, to be presented by Minnesota Opera. Andrew and I had planned to skip this particular Minnesota Opera presentation because neither of us is fond of the music of Donizetti, but word-of-mouth from insiders privy to rehearsal results has been exceptional—and the positive word-of-mouth from music professionals has caused Andrew and me to reassess the situation.
The soprano scheduled to sing Lucia sang the role last autumn at Lyric Opera Of Chicago, a far more important company than Minnesota Opera, and she has been a regular presence at the Metropolitan Opera for the last three or four years. Andrew and I decided we would be foolish to miss out, especially since Minnesota Opera mounts only five productions each season.
The following weekend, we shall attend a Minnesota Orchestra concert of music by Sibelius, Szymanowski and Kodaly. We shall use the subscription tickets of Andrew’s parents, as they shall be in France.
Three days later, we shall hear violinist Christian Tetzlaff in solo recital at Mann Concert Hall. We bought our tickets this afternoon once we discovered that some seats had been placed on sale for $10.00. We decided that to hear Tetzlaff play solo violin literature by Bach and Bartok for a mere $10.00 was irresistible.
The following weekend, we shall attend a performance by Houston Ballet, which will be on tour in the Twin Cities. Since Andrew’s parents will still be in France, we shall use their tickets.
In the month of March, we WILL forego two concerts by the Saint Paul Chamber Orchestra, concerts that we had earlier penciled into our calendars. Both programs are predominantly devoted to Haydn symphonies, which I love—but our recent surfeit of concert-going resulted in the two SPCO Haydn programs being removed from our list.
Something had to go . . . and the SPCO Haydn programs took the hit.
Saturday, July 9, 2011
Balanchine And Farrell

George Balanchine rehearsing Suzanne Farrell.
Andrew’s parents say that Farrell was the greatest ballerina they ever witnessed. They insist that Farrell made famed Russian ballerinas such as Maya Plisetskaya look one-dimensional.
While Andrew was in law school, he met Farrell. Andrew says that Farrell, at the time, looked like any other unremarkable middle-aged woman. In fact, Andrew says, he could scarcely believe that the woman he was briefly talking to was the great Farrell.
________________________________________________
Ballet? Why should you talk about it? Look at it and go home.
George Balanchine
Friday, July 8, 2011
Yet Another Updated List
Since I last updated this list in July of last year, Andrew and I have attended another eight ballet performances, five by New York City Ballet and three by Boston Ballet.
The performances are listed below in the order we attended them.
________________________________________________
New York City Ballet
New York State Theater
New York
Brahms-Schoenberg Quartet [Johannes Brahms-Arnold Schoenberg/George Balanchine]
Glass Pieces [Philip Glass/Jerome Robbins]
Stars And Stripes [John Philip Sousa-Hershy Kay/George Balanchine]
________________________________________________
New York City Ballet
New York State Theater
New York
Chaconne [Christoph Willibald Gluck/George Balanchine]
Concerto Barocco [Johann Sebastian Bach/George Balanchine]
Tarentella [Louis Moreau Gottschalk/George Balanchine]
Glass Pieces [Philip Glass/Jerome Robbins]
________________________________________________
Boston Ballet
Boston Opera House
Boston
La Bayadere [Ludwig Minkus/Marius Petipa-Florence Clerc]
________________________________________________
New York City Ballet
New York State Theater
New York
Walpurgisnacht Ballet [Charles Gounod/George Balanchine]
Dances At A Gathering [Frederic Chopin/Jerome Robbins]
Concerto DSCH [Dmitri Shostakovich/Alexei Ratmansky]
________________________________________________
New York City Ballet
New York State Theater
New York
Walpurgisnacht Ballet [Charles Gounod/George Balanchine]
Duo Concertant [Igor Stravinsky/George Balanchine]
The Four Temperaments [Paul Hindemith/George Balanchine]
Cortege Hongrois [Alexander Glazunov/George Balanchine]
________________________________________________
New York City Ballet
New York State Theater
New York
Mozartiana [Peter Illich Tchaikovsky/George Balanchine]
The Prodigal Son [Sergei Prokofiev/George Balanchine]
Stars And Stripes [John Philip Sousa-Hershy Kay/George Balanchine]
________________________________________________
Boston Ballet
Boston Opera House
Boston
A Midsummer Night’s Dream [Felix Mendelssohn/George Balanchine]
________________________________________________
Boston Ballet
Boston Opera House
Boston
Divertimento No. 15 [Wolfgang Amadeus Mozart/George Balanchine]
Afternoon Of A Faun [Claude Debussy/Jerome Robbins]
Antique Epigraphs [Claude Debussy/Jerome Robbins]
Symphony In Three Movements [Igor Stravinsky/George Balanchine]
________________________________________________
Other than “La Bayadere”, all ballet performances we attended last season were built around the works of George Balanchine. In the last five years, I have developed a distinct regard for the work of Balanchine, surely the finest choreographer who ever lived.
Some of the works I had already experienced: “Brahms-Schoenberg Quartet”; “Concerto DSCH”; “Mozartiana”; “The Prodigal Son”; and “The Four Temperaments”, a ballet I had seen three times prior to this year’s fourth encounter.
The other works were all new to me. I enjoyed expanding my knowledge of the Balanchine canon. Now back in Minneapolis, I regret that Andrew and I shall have few opportunities to see Balanchine ballets performed.
For us, ballet performances will be few and far between for the next year. Scottish Ballet, The Royal Winnipeg Ballet and Houston Ballet will visit the Twin Cities next season—and that’s it (although several modern dance troupes will also visit Minneapolis during their annual nationwide tours).
In addition, next month we shall see the Mariinsky Ballet perform “Swan Lake” and “La Bayadere” at The Royal Opera House, Covent Garden. We look forward to the Mariinsky performances very much.
The performances are listed below in the order we attended them.
________________________________________________
New York City Ballet
New York State Theater
New York
Brahms-Schoenberg Quartet [Johannes Brahms-Arnold Schoenberg/George Balanchine]
Glass Pieces [Philip Glass/Jerome Robbins]
Stars And Stripes [John Philip Sousa-Hershy Kay/George Balanchine]
________________________________________________
New York City Ballet
New York State Theater
New York
Chaconne [Christoph Willibald Gluck/George Balanchine]
Concerto Barocco [Johann Sebastian Bach/George Balanchine]
Tarentella [Louis Moreau Gottschalk/George Balanchine]
Glass Pieces [Philip Glass/Jerome Robbins]
________________________________________________
Boston Ballet
Boston Opera House
Boston
La Bayadere [Ludwig Minkus/Marius Petipa-Florence Clerc]
________________________________________________
New York City Ballet
New York State Theater
New York
Walpurgisnacht Ballet [Charles Gounod/George Balanchine]
Dances At A Gathering [Frederic Chopin/Jerome Robbins]
Concerto DSCH [Dmitri Shostakovich/Alexei Ratmansky]
________________________________________________
New York City Ballet
New York State Theater
New York
Walpurgisnacht Ballet [Charles Gounod/George Balanchine]
Duo Concertant [Igor Stravinsky/George Balanchine]
The Four Temperaments [Paul Hindemith/George Balanchine]
Cortege Hongrois [Alexander Glazunov/George Balanchine]
________________________________________________
New York City Ballet
New York State Theater
New York
Mozartiana [Peter Illich Tchaikovsky/George Balanchine]
The Prodigal Son [Sergei Prokofiev/George Balanchine]
Stars And Stripes [John Philip Sousa-Hershy Kay/George Balanchine]
________________________________________________
Boston Ballet
Boston Opera House
Boston
A Midsummer Night’s Dream [Felix Mendelssohn/George Balanchine]
________________________________________________
Boston Ballet
Boston Opera House
Boston
Divertimento No. 15 [Wolfgang Amadeus Mozart/George Balanchine]
Afternoon Of A Faun [Claude Debussy/Jerome Robbins]
Antique Epigraphs [Claude Debussy/Jerome Robbins]
Symphony In Three Movements [Igor Stravinsky/George Balanchine]
________________________________________________
Other than “La Bayadere”, all ballet performances we attended last season were built around the works of George Balanchine. In the last five years, I have developed a distinct regard for the work of Balanchine, surely the finest choreographer who ever lived.
Some of the works I had already experienced: “Brahms-Schoenberg Quartet”; “Concerto DSCH”; “Mozartiana”; “The Prodigal Son”; and “The Four Temperaments”, a ballet I had seen three times prior to this year’s fourth encounter.
The other works were all new to me. I enjoyed expanding my knowledge of the Balanchine canon. Now back in Minneapolis, I regret that Andrew and I shall have few opportunities to see Balanchine ballets performed.
For us, ballet performances will be few and far between for the next year. Scottish Ballet, The Royal Winnipeg Ballet and Houston Ballet will visit the Twin Cities next season—and that’s it (although several modern dance troupes will also visit Minneapolis during their annual nationwide tours).
In addition, next month we shall see the Mariinsky Ballet perform “Swan Lake” and “La Bayadere” at The Royal Opera House, Covent Garden. We look forward to the Mariinsky performances very much.
Thursday, January 20, 2011
Visualization Of Stravinsky

George Balanchine’s “Symphony Of Three Movements”, danced to Igor Stravinsky’s composition of the same title, is the subject of the above photograph.
“Symphony Of Three Movements”, choreographed in 1972, was one of the last ballets Balanchine created to the music of Stravinsky. Four and one-half decades separate Balanchine’s first Stravinsky ballet, “Apollo”, from his final Stravinsky efforts, all created for the 1972 Stravinsky Festival mounted by New York City Ballet in honor of the composer’s death the previous year.
This weekend, Andrew and I will see one lasting result of the 1972 Stravinsky Festival: Balanchine’s “Duo Concertant”, set to Stravinsky’s work of the same title, will be on one of the NYCB programs we shall attend.
The photograph below, depicting Stravinsky in 1930, was taken by Balanchine.

Was there ever a photograph of Stravinsky that was not unforgettable?
At every stage of his life, Stravinsky overpowered everyone and everything he encountered, including cameras.
Dances At A Gathering
Tomorrow afternoon, Andrew and I will head to New York for the weekend.
The primary enticement in New York for us: three interesting programs at New York City Ballet.
I am not certain I can say I am a partisan of ballet—but I can state that I am definitely a partisan of the work of George Balanchine. Balanchine was unquestionably a genius, although I am confident I possess only a superficial understanding of the breadth and depth of his genius.
We shall see four Balanchine ballets I have already seen (although not all were danced by New York City Ballet). We shall see another three Balanchine ballets I have not yet seen (one of which will be new to Andrew, too).
We shall also see an Alexei Ratmansky ballet that I have already seen, and a Jerome Robbins ballet that will be new to me.
To end the weekend, we will catch Brian Bedford’s production of Oscar Wilde’s “The Importance Of Being Earnest”. The current Broadway production is based upon Bedford’s 2009 staging for The Stratford Shakespeare Festival.
Bedford himself portrays Lady Bracknell, one of the great gorgon roles of the British stage.
It should be a fun weekend.
The primary enticement in New York for us: three interesting programs at New York City Ballet.
I am not certain I can say I am a partisan of ballet—but I can state that I am definitely a partisan of the work of George Balanchine. Balanchine was unquestionably a genius, although I am confident I possess only a superficial understanding of the breadth and depth of his genius.
We shall see four Balanchine ballets I have already seen (although not all were danced by New York City Ballet). We shall see another three Balanchine ballets I have not yet seen (one of which will be new to Andrew, too).
We shall also see an Alexei Ratmansky ballet that I have already seen, and a Jerome Robbins ballet that will be new to me.
To end the weekend, we will catch Brian Bedford’s production of Oscar Wilde’s “The Importance Of Being Earnest”. The current Broadway production is based upon Bedford’s 2009 staging for The Stratford Shakespeare Festival.
Bedford himself portrays Lady Bracknell, one of the great gorgon roles of the British stage.
It should be a fun weekend.
Thursday, October 7, 2010
Columbus Day Weekend
Tomorrow, after my morning classes, Andrew and I will drive down to New York for a long Columbus Day Weekend.
If traffic is no worse than on a normal Friday afternoon, we should arrive in Manhattan around 4:00 p.m.
Assuming flights from Minneapolis are on schedule, Andrew’s parents should already be settled into our hotel when Andrew and I arrive. They are scheduled to arrive in Newark just past 1:45 p.m., and will take a cab from the airport into Manhattan.
We have Friday evening, Saturday afternoon and evening, and Sunday afternoon and evening already planned, but Saturday morning, Sunday morning and all day Monday remain open. We shall probably decide what to do during those periods while we settle in late Friday afternoon.
Tomorrow night: New York City Ballet and my second viewing of one of George Balanchine’s very greatest masterpieces, “Brahms-Schoenberg Quartet”.
I can’t wait.
If traffic is no worse than on a normal Friday afternoon, we should arrive in Manhattan around 4:00 p.m.
Assuming flights from Minneapolis are on schedule, Andrew’s parents should already be settled into our hotel when Andrew and I arrive. They are scheduled to arrive in Newark just past 1:45 p.m., and will take a cab from the airport into Manhattan.
We have Friday evening, Saturday afternoon and evening, and Sunday afternoon and evening already planned, but Saturday morning, Sunday morning and all day Monday remain open. We shall probably decide what to do during those periods while we settle in late Friday afternoon.
Tomorrow night: New York City Ballet and my second viewing of one of George Balanchine’s very greatest masterpieces, “Brahms-Schoenberg Quartet”.
I can’t wait.
Thursday, September 30, 2010
Decision Made
Over the last 48 hours, Andrew’s parents and Andrew and I have decided what to do over Columbus Day Weekend: we shall go to New York.
After abandoning Houston, we examined Cincinnati, Detroit and Pittsburgh as possible destinations. We found little to do in each of those cities over the holiday weekend other than visit art museums (which would be perfectly fine, except museums in all three cities have very constricted open hours, even on Sundays).
We investigated New York’s listings, found enough events to our liking to warrant a visit, and scheduled a trip.
New York City Ballet may have been the determining factor in our decision. NYCB will be offering two programs of interest to us that weekend, one program to include “Brahms-Schoenberg Quartet” and the other to include “Chaconne”. I loved “Brahms-Schoenberg Quartet” when Andrew and I attended a performance of the work at NYCB in January of last year, and Andrew tells me that I will love “Chaconne”, too.
Andrew’s mother loves City Ballet, and Andrew’s father loves Balanchine (but only Balanchine), so a trip to New York will be welcome for everyone.
We were able to target three plays we want to see: a revival of George Bernard Shaw’s “Mrs. Warren’s Profession”; a revival of Arthur Kopit’s “Wings”; and a revival of Michael Frayn’s early and seldom-performed “Alphabetical Order”.
All that, and a museum visit or two, should be enough to keep us occupied over the long weekend.
After abandoning Houston, we examined Cincinnati, Detroit and Pittsburgh as possible destinations. We found little to do in each of those cities over the holiday weekend other than visit art museums (which would be perfectly fine, except museums in all three cities have very constricted open hours, even on Sundays).
We investigated New York’s listings, found enough events to our liking to warrant a visit, and scheduled a trip.
New York City Ballet may have been the determining factor in our decision. NYCB will be offering two programs of interest to us that weekend, one program to include “Brahms-Schoenberg Quartet” and the other to include “Chaconne”. I loved “Brahms-Schoenberg Quartet” when Andrew and I attended a performance of the work at NYCB in January of last year, and Andrew tells me that I will love “Chaconne”, too.
Andrew’s mother loves City Ballet, and Andrew’s father loves Balanchine (but only Balanchine), so a trip to New York will be welcome for everyone.
We were able to target three plays we want to see: a revival of George Bernard Shaw’s “Mrs. Warren’s Profession”; a revival of Arthur Kopit’s “Wings”; and a revival of Michael Frayn’s early and seldom-performed “Alphabetical Order”.
All that, and a museum visit or two, should be enough to keep us occupied over the long weekend.
Wednesday, July 28, 2010
The Four Temperaments
Another List
Andrew and I attended seven ballet performances over the last year. We caught performances in Boston, Dallas, New York and Washington.
Six of the seven performances involved evening-length ballets, an unusually high number for us. Only one performance was a mixed bill.
In order, the performances we attended since my July 2009 update were:
________________________________________________
Boston Ballet
Boston Opera House
Boston
Giselle [Adolphe Adam/Jean Coralli-Jules Perrot-Marius Petipa]
________________________________________________
Texas Ballet Theater
Winspear Opera House
Dallas
The Nutcracker [Peter Illich Tchaikovsky/Ben Stevenson]
________________________________________________
New York City Ballet
New York State Theater
New York
Romeo And Juliet [Sergei Prokofiev/Peter Martins]
________________________________________________
Mariinsky Ballet
Kennedy Center Opera House
Washington
The Sleeping Beauty [Peter Illich Tchaikovsky/Marius Petipa-Konstantine Sergeyev-Fedor Lopukhov]
________________________________________________
Bolshoi Ballet
Kennedy Center Opera House
Washington
Spartacus [Aram Khachaturian/Yuri Grigorovich]
________________________________________________
Boston Ballet
Boston Opera House
Boston
Coppelia [Leo Delibes/Marius Petipa-George Balanchine-Aexandra Danilova]
________________________________________________
Boston Ballet
Boston Opera House
Boston
The Four Temperaments [Paul Hindemith/George Balanchine]
Apollo [Igor Stravinsky/George Balanchine]
Theme And Variations [Peter Illich Tchaikovsky/George Balanchine]
________________________________________________
The Russian companies were a real eye-opener for me. The dancing of the Mariinsky was exceedingly refined, while the dancing of the Bolshoi was nakedly extrovert, even showy.
The Boston “Giselle” was our second “Giselle”, we previously having seen “Giselle” danced in Minneapolis by The State Ballet Of Georgia (Tbilisi).
The Boston “Four Temperaments” was our third “Temperaments”, we previously having seen “Temperaments” danced by New York City Ballet and San Francisco Ballet.
I am now beginning to appreciate “The Four Temperaments”, one of the 20th Century’s great masterpieces. The first two times I saw the ballet, I found the work dry and academic. Additional exposure is causing me to change my mind: “The Four Temperaments”, more than any other Balanchine work, may exemplify 20th-Century Classicism at its richest and most elevated.
Six of the seven performances involved evening-length ballets, an unusually high number for us. Only one performance was a mixed bill.
In order, the performances we attended since my July 2009 update were:
________________________________________________
Boston Ballet
Boston Opera House
Boston
Giselle [Adolphe Adam/Jean Coralli-Jules Perrot-Marius Petipa]
________________________________________________
Texas Ballet Theater
Winspear Opera House
Dallas
The Nutcracker [Peter Illich Tchaikovsky/Ben Stevenson]
________________________________________________
New York City Ballet
New York State Theater
New York
Romeo And Juliet [Sergei Prokofiev/Peter Martins]
________________________________________________
Mariinsky Ballet
Kennedy Center Opera House
Washington
The Sleeping Beauty [Peter Illich Tchaikovsky/Marius Petipa-Konstantine Sergeyev-Fedor Lopukhov]
________________________________________________
Bolshoi Ballet
Kennedy Center Opera House
Washington
Spartacus [Aram Khachaturian/Yuri Grigorovich]
________________________________________________
Boston Ballet
Boston Opera House
Boston
Coppelia [Leo Delibes/Marius Petipa-George Balanchine-Aexandra Danilova]
________________________________________________
Boston Ballet
Boston Opera House
Boston
The Four Temperaments [Paul Hindemith/George Balanchine]
Apollo [Igor Stravinsky/George Balanchine]
Theme And Variations [Peter Illich Tchaikovsky/George Balanchine]
________________________________________________
The Russian companies were a real eye-opener for me. The dancing of the Mariinsky was exceedingly refined, while the dancing of the Bolshoi was nakedly extrovert, even showy.
The Boston “Giselle” was our second “Giselle”, we previously having seen “Giselle” danced in Minneapolis by The State Ballet Of Georgia (Tbilisi).
The Boston “Four Temperaments” was our third “Temperaments”, we previously having seen “Temperaments” danced by New York City Ballet and San Francisco Ballet.
I am now beginning to appreciate “The Four Temperaments”, one of the 20th Century’s great masterpieces. The first two times I saw the ballet, I found the work dry and academic. Additional exposure is causing me to change my mind: “The Four Temperaments”, more than any other Balanchine work, may exemplify 20th-Century Classicism at its richest and most elevated.
Friday, January 22, 2010
The Russians Are Coming, The Russians Are Coming
Andrew and I have nothing going on this weekend or next. I shall use the time to study while Andrew plans to occupy himself by force-feeding me all sorts of peculiar Norwegian eel dishes and playing the music of Milton Babbitt at horrific volume twenty-four hours a day.
In two weeks, Alex will come for a visit, a weekend visit built around three college basketball games. That should be fun.
The following weekend is a holiday weekend—Presidents’ Day—and Andrew and I have a very special weekend planned in Washington. Over a four-day period, we shall attend a Mariinsky Ballet performance of “The Sleeping Beauty”, hear Amsterdam’s Concertgebouw Orchestra in concert, and attend a Bolshoi Ballet performance of “Spartacus”. Such riches are impossible for us to resist, and Andrew’s parents are of the same mind—they also decided that back-to-back appearances by the Mariinsky and Bolshoi, with a Concertgebouw concert thrown in for good measure, make Washington a splendid Presidents’ Day Weekend destination.
Everything is booked. It should be a wonderful weekend.
Andrew is trying to develop my interest in Bard’s SummerScape this August. He wants to attend performances of Franz Schreker’s “Der Ferne Klang” and Oscar Straus’s “The Chocolate Soldier”, neither of which sounds particularly appealing to me.
When Alex comes to Boston in two weeks, he will bring with him the Naxos set of “Der Ferne Klang” from Andrew’s father’s library so that I can listen to it and decide whether a trip to Bard is on the cards.
In two weeks, Alex will come for a visit, a weekend visit built around three college basketball games. That should be fun.
The following weekend is a holiday weekend—Presidents’ Day—and Andrew and I have a very special weekend planned in Washington. Over a four-day period, we shall attend a Mariinsky Ballet performance of “The Sleeping Beauty”, hear Amsterdam’s Concertgebouw Orchestra in concert, and attend a Bolshoi Ballet performance of “Spartacus”. Such riches are impossible for us to resist, and Andrew’s parents are of the same mind—they also decided that back-to-back appearances by the Mariinsky and Bolshoi, with a Concertgebouw concert thrown in for good measure, make Washington a splendid Presidents’ Day Weekend destination.
Everything is booked. It should be a wonderful weekend.
Andrew is trying to develop my interest in Bard’s SummerScape this August. He wants to attend performances of Franz Schreker’s “Der Ferne Klang” and Oscar Straus’s “The Chocolate Soldier”, neither of which sounds particularly appealing to me.
When Alex comes to Boston in two weeks, he will bring with him the Naxos set of “Der Ferne Klang” from Andrew’s father’s library so that I can listen to it and decide whether a trip to Bard is on the cards.
Sunday, July 5, 2009
Updating My Lists . . .
I am a maker of lists, and I have decided that the summer months present a good opportunity to update my lists.
On December 14, 2008, I listed the ballet performances Andrew and I had attended from February 2006 through mid-December 2008. The list was not a long one—we had attended only seven ballet performances during that period, a period that covered almost three years—but our pace of ballet attendance has increased significantly since we moved to Boston in August 2008. Indeed, three of the seven ballet performances that appear on my list from December 14, 2008, occurred after our temporary relocation to Boston.
Since December’s list, we have attended another six ballet performances, almost as many as we had attended the previous three years. In fact, we almost attended a seventh ballet performance in the last few months, but we had to skip Boston Ballet’s “The Sleeping Beauty” owing to my study schedule.
Boston has a fine ballet company, while Minneapolis does not. Consequently, Andrew and I have decided to continue to take advantage of our presence in Boston by attending as many Boston Ballet programs as we can.
Next school term, we plan to catch four programs by Boston Ballet: “Giselle”; “The Nutcracker”; “Coppelia”; and an all-Balanchine program.
It is possible that we may catch one or two New York City Ballet programs next term, too.
Below are the ballet performances Andrew and I have attended since my earlier list.
________________________________________________
New York City Ballet
New York State Theater
New York
Chiaroscuro (Francesco Geminiani/Lynne Taylor-Corbett)
Papillons (Robert Schumann/Peter Martins)
Concerto DSCH (Dmitri Shostakovich/Alexei Ratmansky)
Brahms-Schoenberg Quartet (Johannes Brahms-Arnold Schoenberg/George Balanchine)
________________________________________________
Miami City Ballet
City Center
New York
Square Dance (Antonio Vivaldi-Arcangelo Corelli/George Balanchine)
Rubies (Igor Stravinsky/George Balanchine)
Symphony In C (Georges Bizet/George Balanchine)
________________________________________________
New York City Ballet
New York State Theater
New York
Swan Lake (Peter Illich Tchaikovsky/George Balanchine)
The Steadfast Tin Soldier (Georges Bizet/George Balanchine)
“Romeo And Juliet” Balcony Scene (Sergei Prokofiev/Sean Lavery)
Slaughter On Tenth Avenue (Richard Rodgers/George Balanchine)
________________________________________________
Boston Ballet
Wang Theatre
Boston
Emeralds (Gabriel Faure/George Balanchine
Rubies (Igor Stravinsky/George Balanchine)
Diamonds (Peter Illich Tchaikovsky/George Balanchine)
________________________________________________
Boston Ballet
Wang Theatre
Boston
The Prodigal Son (Sergei Prokofiev/George Balanchine)
Spectre De La Rose (Carl Maria Von Weber/Mikhail Fokine)
Afternoon Of A Faun (Claude Debussy/Vaslav Nijinsky)
[By design, Andrew and I skipped the final work on the program, a new staging of “The Rite Of Spring”.]
________________________________________________
The Royal Ballet
Kennedy Center Opera House
Washington
Manon (Jules Massenet/Kenneth MacMillan)
________________________________________________
I’m not sure I even like ballet, but I certainly like some of George Balanchine’s work, and I certainly appreciate the level of artistry at New York City Ballet, a company that can dance rings around every other company I have seen.
A week ago, when I saw The Royal Ballet for the first time, I was dumbfounded how SLOW and HEAVY and IMPRECISE the dancing was. The Royal Ballet was the very antithesis of New York City Ballet, a pack of mules compared to thoroughbreds.
On December 14, 2008, I listed the ballet performances Andrew and I had attended from February 2006 through mid-December 2008. The list was not a long one—we had attended only seven ballet performances during that period, a period that covered almost three years—but our pace of ballet attendance has increased significantly since we moved to Boston in August 2008. Indeed, three of the seven ballet performances that appear on my list from December 14, 2008, occurred after our temporary relocation to Boston.
Since December’s list, we have attended another six ballet performances, almost as many as we had attended the previous three years. In fact, we almost attended a seventh ballet performance in the last few months, but we had to skip Boston Ballet’s “The Sleeping Beauty” owing to my study schedule.
Boston has a fine ballet company, while Minneapolis does not. Consequently, Andrew and I have decided to continue to take advantage of our presence in Boston by attending as many Boston Ballet programs as we can.
Next school term, we plan to catch four programs by Boston Ballet: “Giselle”; “The Nutcracker”; “Coppelia”; and an all-Balanchine program.
It is possible that we may catch one or two New York City Ballet programs next term, too.
Below are the ballet performances Andrew and I have attended since my earlier list.
________________________________________________
New York City Ballet
New York State Theater
New York
Chiaroscuro (Francesco Geminiani/Lynne Taylor-Corbett)
Papillons (Robert Schumann/Peter Martins)
Concerto DSCH (Dmitri Shostakovich/Alexei Ratmansky)
Brahms-Schoenberg Quartet (Johannes Brahms-Arnold Schoenberg/George Balanchine)
________________________________________________
Miami City Ballet
City Center
New York
Square Dance (Antonio Vivaldi-Arcangelo Corelli/George Balanchine)
Rubies (Igor Stravinsky/George Balanchine)
Symphony In C (Georges Bizet/George Balanchine)
________________________________________________
New York City Ballet
New York State Theater
New York
Swan Lake (Peter Illich Tchaikovsky/George Balanchine)
The Steadfast Tin Soldier (Georges Bizet/George Balanchine)
“Romeo And Juliet” Balcony Scene (Sergei Prokofiev/Sean Lavery)
Slaughter On Tenth Avenue (Richard Rodgers/George Balanchine)
________________________________________________
Boston Ballet
Wang Theatre
Boston
Emeralds (Gabriel Faure/George Balanchine
Rubies (Igor Stravinsky/George Balanchine)
Diamonds (Peter Illich Tchaikovsky/George Balanchine)
________________________________________________
Boston Ballet
Wang Theatre
Boston
The Prodigal Son (Sergei Prokofiev/George Balanchine)
Spectre De La Rose (Carl Maria Von Weber/Mikhail Fokine)
Afternoon Of A Faun (Claude Debussy/Vaslav Nijinsky)
[By design, Andrew and I skipped the final work on the program, a new staging of “The Rite Of Spring”.]
________________________________________________
The Royal Ballet
Kennedy Center Opera House
Washington
Manon (Jules Massenet/Kenneth MacMillan)
________________________________________________
I’m not sure I even like ballet, but I certainly like some of George Balanchine’s work, and I certainly appreciate the level of artistry at New York City Ballet, a company that can dance rings around every other company I have seen.
A week ago, when I saw The Royal Ballet for the first time, I was dumbfounded how SLOW and HEAVY and IMPRECISE the dancing was. The Royal Ballet was the very antithesis of New York City Ballet, a pack of mules compared to thoroughbreds.
Wednesday, January 21, 2009
A Welcome Visitor
Andrew and I had a very nice weekend with Alex, despite the cold. The weather, however, caused us to alter our daytime plans for Saturday and Sunday, dropping outside activities in favor of inside visits. In any case, everything worked out perfectly.
It was my job to drive to the airport Friday afternoon in order to pick up Alex and bring him home. Alex and I walked in the door of the apartment only a few minutes before Andrew returned home from work.
Friday night was devoted to cooking and eating and catching up, and little else.
The first thing we did was put bread in the oven to bake, and soup on the stove to heat. On Thursday night, Andrew had prepared dough for bread as well as his mother’s tomato-based vegetable soup, which calls only for yellow and green vegetables. We thought warm bread and hot soup would be the perfect foods to give Alex as soon as he arrived, since we suspected he would be hungry long before time for dinner and since we believed he would welcome some warming food.
The bread and the soup warmed us up, and warmed up the apartment, too.
Our next project was boiling chicken parts in herbs and spices and broiling tuna, most of which was to be saved for Saturday. Once the chicken and tuna were well under way, we prepared pasta, and ate a plate of pasta with a little chicken and tuna on the side.
Only at this point did we begin to prepare our main dinner foods for the night: a pork roast, cheddar potatoes, parsnips, Brussels sprouts and fried apples.
By the time we were done eating dinner, we had spent over five hours in the kitchen, cooking, eating and cleaning up, in sequence, three times. It was fun.
We went to bed early Friday night, and we rose early Saturday morning.
The first thing we did was make banana bread and nut bread, and put those in the oven, at which point we ate a bowl of cereal, followed by a bowl of berries (strawberries, blueberries, blackberries). This was followed by our real breakfast—ham-and-cheese omelets and potatoes—which in turn was followed by the banana bread and nut bread. It took us a couple of hours to get through all of this, during which time we read the newspapers and discussed how we were going to spend much of our day.
Our original plan was to spend the bulk of Saturday taking an extended walk, from mid-morning until mid-afternoon, exploring some of Boston’s most historic neighborhoods, but the bitter cold caused us to abandon this plan.
As a replacement project, we chose to make a visit to the Isabella Stewart Gardner Museum, and we decided that we would try to arrive at the museum at 12:00 Noon and leave at 3:00 p.m.
This gave us plenty of time to clean up, and plenty of time to make chicken-salad sandwiches and tuna-salad sandwiches to take with us.
We enjoyed our visit to the Isabella Stewart Gardner Museum. The museum is quirky, as befits its founder and namesake, who was an unmistakable eccentric. Housed in a late-19th-Century recreation of a 15th-Century Venetian Palazzo, the museum displays paintings, sculpture, antiquities, decorative arts and what can only be described as oddities. The artworks are displayed in the same manner as they were displayed during Mrs. Gardner’s lifetime, viz., irrespective of nationality, school or period. It is all rather jumbled, if not rather peculiar, but also rather fun.
The museum has a $12.00 admission fee (unless one’s first name is Isabella, in which case admission is free). I am troubled by steep admission fees, as I believe that museums, as a general rule, should offer free access to the public, consistent with their missions as tax-supported institutions. Moreover, I would categorize the Isabella Stewart Gardner Museum’s collection as a six-dollar collection, not a twelve-dollar collection.
In 1990, the Isabella Stewart Gardner Museum was the victim of the nation’s most famous art theft, an art theft still unsolved. Through subterfuge, thieves dressed as Boston policemen gained entrance to the museum after hours, and made off with several key Rembrandt masterpieces as well as one of the world’s greatest surviving Vermeer paintings, all of which were priceless. None of the stolen artwork has ever been recovered.
After our museum visit, we ate the sandwiches and fruit we had packed and headed over to The Lyric Stage Company Of Boston, where we had tickets for the 4:00 p.m. performance of “The Year Of Magical Thinking” by Joan Didion.
None of us had read the book on which the stage play is based, so we were not quite prepared for what we saw and heard onstage at The Lyric Stage Company. “The Year Of Magical Thinking” turned out be a one-woman show, lasting ninety minutes, about a year in Didion’s life in which her husband died and she was to learn of her daughter’s mortal illness.
The material was maudlin, self-indulgent and creepy beyond belief, and I quite intentionally classify it as “Women’s Entertainment”, with all the pejorative connotations associated with that particular brand of material, which I thought had died out decades ago. “The Year Of Magical Thinking” is no more sophisticated and no more thoughtful than the tripe paraded in a Ross Hunter movie production from the 1950’s, and I was angry that we had wasted our time and our money on such appalling rubbish. So was Alex, and so was Andrew.
After the play, we ate dinner at a Chinese restaurant—we all three ordered wonton soup, egg rolls, and shrimp-fried rice, followed by individual servings of Hunan beef, sweet-and-sour pork, and General Tso’s chicken, which we shared back and forth—and after dinner we headed over to The Huntington Theatre Company to attend the 8:00 p.m. performance of Emlyn Williams’s “The Corn Is Green”.
None of us had seen a previous stage production of this play. None of us had seen the film version, either.
“The Corn Is Green” is a very old-fashioned play, dating back to the era of the well-made, three-act play, often featuring a large cast. The play remains a durable vehicle for a star actress, and The Huntington Theatre Company had an excellent actress on hand, Kate Burton, to lead the cast. Burton was very good. She was one of the finest American actresses I had ever seen. She commanded the stage, and held the audience’s full attention, for two hours and thirty minutes.
No one else onstage was at Burton’s level—the rest of the company of actors was provincial—but the bad acting from the ensemble did not destroy our enjoyment of the play. I doubt any of us would want to see “The Corn Is Green” a second time, but we very much enjoyed this earnest but creaky drama for a single viewing.
The level of presentation—stage design, costume design, lighting design, stage direction, casting—was not high. Such quality of presentation would never pass muster at The Guthrie Theater and would never fly with Minneapolis audiences.
Boston is definitely not a theater town.
When we got home from “The Corn Is Green”, Andrew prepared a hot brandy sauce, and we poured the hot brandy sauce over peaches and ice cream and enjoyed a late dessert.
We slept in a little later on Sunday morning.
As soon as we got up, we made orange bread and lemon bread, and put those in the oven, after which we ate a bowl of cereal, followed by a plate of melon slices (cantaloupe, honeydew, watermelon). For our main breakfast, we ate bacon, scrambled eggs, and potatoes, followed by the orange bread and lemon bread.
During breakfast, we discussed how we were going to spend our Sunday. Owing to the cold, we abandoned our original plans—another series of self-guided walks through historic Boston neighborhoods—for the second consecutive day.
After weighing a few alternatives, we settled upon a visit to the USS Constitution and the USS Constitution Museum. It turned out to be a good choice for us.
The USS Constitution, whose nickname is “Old Ironsides”, has a remarkable history. Prior to visiting the museum and touring the ship itself, none of us had more than a bare-boned knowledge of the vessel’s vast historic significance.
The USS Constitution is the oldest commissioned vessel afloat anywhere in the world.
Launched in 1797, the USS Constitution is one of the six ships of the original U.S. Navy. The ship’s name was chosen by George Washington.
The ship was involved in the War Of The Barbary Pirates, but its most dramatic service came in the War Of 1812, a war in which the USS Constitution destroyed five different British battleships in four separate engagements, each one of which was notable and each one of which has gone down in the annals of wartime naval history. It was during the War Of 1812 that the ship became famous and acquired its nickname. The USS Constitution was part of a remarkable U.S. naval force that, although vastly outnumbered, somehow defeated a superior British navy, over and over, in that conflict. This was a miraculous feat, since the British navy, only a few years earlier, had achieved a stupendous victory over the combined navies of France and Spain, both world powers at the time.
Not only is the USS Constitution still afloat, but the vessel also remains seaworthy. The ship is generally taken out to harbor once a year, but only under tow, and not under sail, because full rigging is exorbitantly expensive. The last time the USS Constitution went to sea under its own rigging was in 1997, a special voyage held in conjunction with the ship’s Bicentennial. It must have provided a most magnificent and unforgettable sight.
The tour of the ship, conducted by U.S. Navy personnel, was both impressive and frustrating. The ship is presently undergoing renovation—there is an entire forest in the State Of Indiana whose trees are devoted exclusively to providing material for ongoing maintenance of the USS Constitution—and we would have liked to explore the vessel in much more detail than the guided tour allowed.
The USS Constitution Museum, set ashore alongside the ship, was not particularly impressive, but we were happy to spend an hour viewing artifacts associated with the ship while reading about the long and distinguished history of this magnificent vessel.
We were very pleased that we made the decision to visit the USS Constitution. It was a last-minute choice on our part, winning out over a couple of other options we had considered, and it was a very successful choice, as things turned out.
We were back home by the middle of the afternoon, and we prepared an early dinner, because we had plans for the evening and would have to leave the apartment again at 6:30 p.m.
We started with soup, a type of clam chowder that is neither New England clam chowder nor Manhattan clam chowder. Andrew had tried out the recipe on me while I was studying for my exams, and it had worked out, and I had liked it, and it does not take long to make, and we thought Alex might like to try it. The recipe is very simple, and involves onion, pepper, corn, bacon and hash brown potatoes in addition to clams. It turned out a second time, and Alex liked it.
We followed the soup with a major garden salad, containing a little bit of everything, and then we had our main course: baked steak, prepared according to Andrew’s mother’s personal recipe, accompanied by baked potato and steamed broccoli, steamed corn and steamed carrots.
Not long after eating dinner, we headed out again, because we were to go to Watertown to catch a performance of the musical “Cabaret” at the Arsenal Theater, performed by the New Repertory Theater Company.
We enjoyed “Cabaret” very much, despite the fact that the performance was not particularly good. It was a performance operating precisely on the inflection point at which, throughout the performance, it might have risen to professional quality at any time or instantly have descended to the level of a college presentation. The performance remained, firmly, on this inflection point all night, stubbornly refusing to budge. Oddly, this tension sort of added to our enjoyment of the show. “Cabaret” is an indestructible vehicle, and the material came across, despite the fact that most of the singing was poor. A live orchestra was used.
Our weekend’s three theater excursions—“The Year Of Magical Thinking”, “The Corn Is Green” and “Cabaret”—provided Andrew and me (as well as Alex) with our first experiences of local theater in Boston. I’m not confident Andrew and I will return to see additional performance by any of these local theater companies anytime soon. As far as local Boston ensembles are concerned, I believe our time will be better spent, and the rewards greater, at Boston Ballet rather than at the local repertory theater companies. Nevertheless, I’m glad we attended these performances, because doing so allowed Andrew and me to satisfy our curiosities about the local companies and because doing so allowed Andrew and me to offer Alex some evening entertainment during his visit. Aside from the Joan Didion play, mercifully short, Alex was happy with what he saw. He enjoyed the two evenings out. He enjoyed exploring the different venues. He enjoyed seeing “The Corn Is Green” and “Cabaret”. In fact, he was pleasantly surprised when he had learned, before his visit, that there were three plays in town with some prospective appeal for him. He instantly said “Yes” when Andrew had asked him whether he wanted us to get tickets for the three productions. I’m glad things worked out.
When we got home, we were all hungry for dessert, so we made white cupcakes, and ate the cupcakes with ice cream and raspberries.
On Monday morning, we ate a Sunday breakfast. As soon as we got up, we made a cinnamon streusel coffee cake and put that in the oven. While that was baking, we made hot oatmeal, and followed the oatmeal with bananas, nuts and honey. Our main breakfast came next: buttermilk pancakes and sausage. We wrapped things up with the coffee cake.
Our Monday program was a visit to the New England Aquarium. There is no aquarium in Minneapolis, and Alex thought it might be fun to visit the New England Aquarium.
There were a few interesting displays on view at the aquarium, most interesting for us of which was the penguin exhibit. The penguins were fascinating to watch, and we could hardly take our eyes off the penguin community as it went about its daily routine.
I have no idea how the New England Aquarium measures up when compared to other aquariums around the world, but we were not particularly impressed. We did not believe it was worth the $19.95 admission price.
We left the aquarium in the early afternoon and walked over to Faneuil Hall Marketplace and had lunch at McCormick And Schmick’s. Andrew and I thought it was imperative that we give Alex at least one good seafood meal while he was in Boston, and we knew that McCormick And Schmick’s would not disappoint (although there is a McCormick And Schmick’s in Minneapolis, too). Our meal was excellent.
After lunch, we walked around Faneuil Hall Marketplace for a couple of hours before we returned home.
We stayed in for the rest of the day, playing cards and playing around on the computers and reading the Sunday newspapers one day late and cooking and listening to music (Tchaikovsky’s opera, “Eugene Onegin”, which Andrew and I will hear at the Metropolitan Opera next month, and Stravinsky’s complete score to the ballet, “Pulcinella”, the first piece of music by Stravinsky I have heard that I actually like).
We prepared a major dinner. Andrew baked bread for the second time in three days and, while the bread was baking, we made a tomato-cucumber salad and an Amish pepper salad, which we ate with warm bread. A bit later, we prepared a very sharp version of macaroni-and-cheese, and ate the macaroni-and-cheese with baked stuffed peppers and baked stuffed tomatoes. The main event came later: roast chicken and stuffing, mashed potatoes, and steamed peas and steamed corn. For dessert, Andrew made an apple cake.
Yesterday morning we slept in, knowing that Andrew and Alex would have to rise at 3:00 a.m. this morning in order to make it to Logan in time for Alex to catch his plane back to Minneapolis. We didn’t get up until almost 8:00 a.m., and we had another Sunday breakfast. We started with hot oatmeal with apple, cinnamon and raisins, and we followed that up with Eggs Benedict, and we ended with apple pancakes and sausage.
Our plan for yesterday was to visit the Peabody Essex Museum in Salem, but all through breakfast we discussed other options, such as the Science Museum and a few other alternatives. None of the potential alternatives captured our imagination or seized our attention, so we decided to stick with our original plan and head up to Salem.
The Peabody Essex Museum is the oldest museum in continuous operation in the United States, dating back to the late 18th Century. Its original mission was to collect treasures from all over the world and to bring them back to Salem for display. Salem’s trading firms, whose ships sailed the globe and engaged in trade in Europe, Africa, the Americas and the Far East, amassed hordes of items from all over the world during the era of clipper ships. The items they brought back to Salem form the basis of today’s collection, supplemented over the past century-and-a-half with items amassed by museum personnel.
We did not attempt to explore the entire museum, which is very large (it is one of America’s 25 largest art museums). Instead, we focused on the collections we believed would be of most interest to us.
On the first floor, we viewed the collection of maritime art and the collection of American decorative art, as well as the rooms addressing Salem’s seafaring history. On the second floor, we visited the collection of Japanese art.
That was enough for us. Nothing we viewed was of first- or second-quality. We did not bother even to take a quick stroll through the many temporary exhibitions or through the collections of art from China, India, Korea, Oceania, Africa and North America, or through the collections of photography, architecture, export art, and rare books and manuscripts.
The Peabody Essex Museum has an outrageous admission price, $15.00, which is more than it costs to gain admittance to the Louvre. The museum lacks a Louvre-quality collection, to say the least, and should reduce, even eliminate, its admission fee. The museum has a four-dollar collection, not a fifteen-dollar collection. At least residents of Salem are, I believe, admitted to the museum without charge.
We returned home by the middle of the afternoon and, first thing, we prepared a late lunch: poached salmon, wild rice and steamed broccoli.
We did not do anything for the rest of the day other than hang around the apartment.
Andrew and I gave Alex a good dinner for the final night of his visit. We prepared a pot roast with tomatoes, onions and peppers. We ate the pot roast with mashed potatoes, butternut squash, escalloped green and red cabbage cooked with butter and cream, and an apple salad. For dessert, we ate blackberry cobbler and ice cream.
I don’t believe Alex will be able to report back to Minneapolis that we did not feed him well during his visit!
I’m glad Alex came for the long weekend. He is very good company, and a very good guest, helping out whenever possible and lending a cheerful presence to what otherwise might have been simply another cold, and not particularly eventful, January weekend. Because of Alex’s presence, Andrew and I made a point of getting out and showing him some things we otherwise would have delayed seeing ourselves, perhaps for months if not years. That is one of the advantages of out-of-town visitors—they encourage hosts to discover interesting attractions in their own locales.
As for Alex, he had a very good time. He got plenty of rest, plenty of good food, plenty of company, and managed to see a few interesting things that made his weekend getaway worthwhile.
I don’t believe he could have done better.
His visit ended this morning, when we had to rise at 3:00 a.m. in order to get him to the airport to catch the first flight of the day to the Twin Cities. Andrew planned to take Alex to the airport by himself, but I heard the alarm go off and I decided to get up, too, and go to the airport with them. Because it was still the middle of the night when we left home—it was 4:00 a.m.—we did not have to contend with traffic in either direction.
Andrew is back at work today, but I am off this week. I will do some reading.
On Friday afternoon, Andrew and I will drive down to New York for the weekend, our final weekend of leisure before my classes begin again the following Monday, on which day it will be back to the grind for me, too. We plan to attend a performance of New York City Ballet, a performance of Miami City Ballet (the company will present a guest engagement at City Center), a concert by the New York Philharmonic (the guest conductor will be Riccardo Muti), and a performance of the Broadway revival of “Equus”, which will close soon.
Alex brought a copy of “Equus” with him from Minneapolis so that I can read the play before this weekend’s performance.
I am going to read it today.
It was my job to drive to the airport Friday afternoon in order to pick up Alex and bring him home. Alex and I walked in the door of the apartment only a few minutes before Andrew returned home from work.
Friday night was devoted to cooking and eating and catching up, and little else.
The first thing we did was put bread in the oven to bake, and soup on the stove to heat. On Thursday night, Andrew had prepared dough for bread as well as his mother’s tomato-based vegetable soup, which calls only for yellow and green vegetables. We thought warm bread and hot soup would be the perfect foods to give Alex as soon as he arrived, since we suspected he would be hungry long before time for dinner and since we believed he would welcome some warming food.
The bread and the soup warmed us up, and warmed up the apartment, too.
Our next project was boiling chicken parts in herbs and spices and broiling tuna, most of which was to be saved for Saturday. Once the chicken and tuna were well under way, we prepared pasta, and ate a plate of pasta with a little chicken and tuna on the side.
Only at this point did we begin to prepare our main dinner foods for the night: a pork roast, cheddar potatoes, parsnips, Brussels sprouts and fried apples.
By the time we were done eating dinner, we had spent over five hours in the kitchen, cooking, eating and cleaning up, in sequence, three times. It was fun.
We went to bed early Friday night, and we rose early Saturday morning.
The first thing we did was make banana bread and nut bread, and put those in the oven, at which point we ate a bowl of cereal, followed by a bowl of berries (strawberries, blueberries, blackberries). This was followed by our real breakfast—ham-and-cheese omelets and potatoes—which in turn was followed by the banana bread and nut bread. It took us a couple of hours to get through all of this, during which time we read the newspapers and discussed how we were going to spend much of our day.
Our original plan was to spend the bulk of Saturday taking an extended walk, from mid-morning until mid-afternoon, exploring some of Boston’s most historic neighborhoods, but the bitter cold caused us to abandon this plan.
As a replacement project, we chose to make a visit to the Isabella Stewart Gardner Museum, and we decided that we would try to arrive at the museum at 12:00 Noon and leave at 3:00 p.m.
This gave us plenty of time to clean up, and plenty of time to make chicken-salad sandwiches and tuna-salad sandwiches to take with us.
We enjoyed our visit to the Isabella Stewart Gardner Museum. The museum is quirky, as befits its founder and namesake, who was an unmistakable eccentric. Housed in a late-19th-Century recreation of a 15th-Century Venetian Palazzo, the museum displays paintings, sculpture, antiquities, decorative arts and what can only be described as oddities. The artworks are displayed in the same manner as they were displayed during Mrs. Gardner’s lifetime, viz., irrespective of nationality, school or period. It is all rather jumbled, if not rather peculiar, but also rather fun.
The museum has a $12.00 admission fee (unless one’s first name is Isabella, in which case admission is free). I am troubled by steep admission fees, as I believe that museums, as a general rule, should offer free access to the public, consistent with their missions as tax-supported institutions. Moreover, I would categorize the Isabella Stewart Gardner Museum’s collection as a six-dollar collection, not a twelve-dollar collection.
In 1990, the Isabella Stewart Gardner Museum was the victim of the nation’s most famous art theft, an art theft still unsolved. Through subterfuge, thieves dressed as Boston policemen gained entrance to the museum after hours, and made off with several key Rembrandt masterpieces as well as one of the world’s greatest surviving Vermeer paintings, all of which were priceless. None of the stolen artwork has ever been recovered.
After our museum visit, we ate the sandwiches and fruit we had packed and headed over to The Lyric Stage Company Of Boston, where we had tickets for the 4:00 p.m. performance of “The Year Of Magical Thinking” by Joan Didion.
None of us had read the book on which the stage play is based, so we were not quite prepared for what we saw and heard onstage at The Lyric Stage Company. “The Year Of Magical Thinking” turned out be a one-woman show, lasting ninety minutes, about a year in Didion’s life in which her husband died and she was to learn of her daughter’s mortal illness.
The material was maudlin, self-indulgent and creepy beyond belief, and I quite intentionally classify it as “Women’s Entertainment”, with all the pejorative connotations associated with that particular brand of material, which I thought had died out decades ago. “The Year Of Magical Thinking” is no more sophisticated and no more thoughtful than the tripe paraded in a Ross Hunter movie production from the 1950’s, and I was angry that we had wasted our time and our money on such appalling rubbish. So was Alex, and so was Andrew.
After the play, we ate dinner at a Chinese restaurant—we all three ordered wonton soup, egg rolls, and shrimp-fried rice, followed by individual servings of Hunan beef, sweet-and-sour pork, and General Tso’s chicken, which we shared back and forth—and after dinner we headed over to The Huntington Theatre Company to attend the 8:00 p.m. performance of Emlyn Williams’s “The Corn Is Green”.
None of us had seen a previous stage production of this play. None of us had seen the film version, either.
“The Corn Is Green” is a very old-fashioned play, dating back to the era of the well-made, three-act play, often featuring a large cast. The play remains a durable vehicle for a star actress, and The Huntington Theatre Company had an excellent actress on hand, Kate Burton, to lead the cast. Burton was very good. She was one of the finest American actresses I had ever seen. She commanded the stage, and held the audience’s full attention, for two hours and thirty minutes.
No one else onstage was at Burton’s level—the rest of the company of actors was provincial—but the bad acting from the ensemble did not destroy our enjoyment of the play. I doubt any of us would want to see “The Corn Is Green” a second time, but we very much enjoyed this earnest but creaky drama for a single viewing.
The level of presentation—stage design, costume design, lighting design, stage direction, casting—was not high. Such quality of presentation would never pass muster at The Guthrie Theater and would never fly with Minneapolis audiences.
Boston is definitely not a theater town.
When we got home from “The Corn Is Green”, Andrew prepared a hot brandy sauce, and we poured the hot brandy sauce over peaches and ice cream and enjoyed a late dessert.
We slept in a little later on Sunday morning.
As soon as we got up, we made orange bread and lemon bread, and put those in the oven, after which we ate a bowl of cereal, followed by a plate of melon slices (cantaloupe, honeydew, watermelon). For our main breakfast, we ate bacon, scrambled eggs, and potatoes, followed by the orange bread and lemon bread.
During breakfast, we discussed how we were going to spend our Sunday. Owing to the cold, we abandoned our original plans—another series of self-guided walks through historic Boston neighborhoods—for the second consecutive day.
After weighing a few alternatives, we settled upon a visit to the USS Constitution and the USS Constitution Museum. It turned out to be a good choice for us.
The USS Constitution, whose nickname is “Old Ironsides”, has a remarkable history. Prior to visiting the museum and touring the ship itself, none of us had more than a bare-boned knowledge of the vessel’s vast historic significance.
The USS Constitution is the oldest commissioned vessel afloat anywhere in the world.
Launched in 1797, the USS Constitution is one of the six ships of the original U.S. Navy. The ship’s name was chosen by George Washington.
The ship was involved in the War Of The Barbary Pirates, but its most dramatic service came in the War Of 1812, a war in which the USS Constitution destroyed five different British battleships in four separate engagements, each one of which was notable and each one of which has gone down in the annals of wartime naval history. It was during the War Of 1812 that the ship became famous and acquired its nickname. The USS Constitution was part of a remarkable U.S. naval force that, although vastly outnumbered, somehow defeated a superior British navy, over and over, in that conflict. This was a miraculous feat, since the British navy, only a few years earlier, had achieved a stupendous victory over the combined navies of France and Spain, both world powers at the time.
Not only is the USS Constitution still afloat, but the vessel also remains seaworthy. The ship is generally taken out to harbor once a year, but only under tow, and not under sail, because full rigging is exorbitantly expensive. The last time the USS Constitution went to sea under its own rigging was in 1997, a special voyage held in conjunction with the ship’s Bicentennial. It must have provided a most magnificent and unforgettable sight.
The tour of the ship, conducted by U.S. Navy personnel, was both impressive and frustrating. The ship is presently undergoing renovation—there is an entire forest in the State Of Indiana whose trees are devoted exclusively to providing material for ongoing maintenance of the USS Constitution—and we would have liked to explore the vessel in much more detail than the guided tour allowed.
The USS Constitution Museum, set ashore alongside the ship, was not particularly impressive, but we were happy to spend an hour viewing artifacts associated with the ship while reading about the long and distinguished history of this magnificent vessel.
We were very pleased that we made the decision to visit the USS Constitution. It was a last-minute choice on our part, winning out over a couple of other options we had considered, and it was a very successful choice, as things turned out.
We were back home by the middle of the afternoon, and we prepared an early dinner, because we had plans for the evening and would have to leave the apartment again at 6:30 p.m.
We started with soup, a type of clam chowder that is neither New England clam chowder nor Manhattan clam chowder. Andrew had tried out the recipe on me while I was studying for my exams, and it had worked out, and I had liked it, and it does not take long to make, and we thought Alex might like to try it. The recipe is very simple, and involves onion, pepper, corn, bacon and hash brown potatoes in addition to clams. It turned out a second time, and Alex liked it.
We followed the soup with a major garden salad, containing a little bit of everything, and then we had our main course: baked steak, prepared according to Andrew’s mother’s personal recipe, accompanied by baked potato and steamed broccoli, steamed corn and steamed carrots.
Not long after eating dinner, we headed out again, because we were to go to Watertown to catch a performance of the musical “Cabaret” at the Arsenal Theater, performed by the New Repertory Theater Company.
We enjoyed “Cabaret” very much, despite the fact that the performance was not particularly good. It was a performance operating precisely on the inflection point at which, throughout the performance, it might have risen to professional quality at any time or instantly have descended to the level of a college presentation. The performance remained, firmly, on this inflection point all night, stubbornly refusing to budge. Oddly, this tension sort of added to our enjoyment of the show. “Cabaret” is an indestructible vehicle, and the material came across, despite the fact that most of the singing was poor. A live orchestra was used.
Our weekend’s three theater excursions—“The Year Of Magical Thinking”, “The Corn Is Green” and “Cabaret”—provided Andrew and me (as well as Alex) with our first experiences of local theater in Boston. I’m not confident Andrew and I will return to see additional performance by any of these local theater companies anytime soon. As far as local Boston ensembles are concerned, I believe our time will be better spent, and the rewards greater, at Boston Ballet rather than at the local repertory theater companies. Nevertheless, I’m glad we attended these performances, because doing so allowed Andrew and me to satisfy our curiosities about the local companies and because doing so allowed Andrew and me to offer Alex some evening entertainment during his visit. Aside from the Joan Didion play, mercifully short, Alex was happy with what he saw. He enjoyed the two evenings out. He enjoyed exploring the different venues. He enjoyed seeing “The Corn Is Green” and “Cabaret”. In fact, he was pleasantly surprised when he had learned, before his visit, that there were three plays in town with some prospective appeal for him. He instantly said “Yes” when Andrew had asked him whether he wanted us to get tickets for the three productions. I’m glad things worked out.
When we got home, we were all hungry for dessert, so we made white cupcakes, and ate the cupcakes with ice cream and raspberries.
On Monday morning, we ate a Sunday breakfast. As soon as we got up, we made a cinnamon streusel coffee cake and put that in the oven. While that was baking, we made hot oatmeal, and followed the oatmeal with bananas, nuts and honey. Our main breakfast came next: buttermilk pancakes and sausage. We wrapped things up with the coffee cake.
Our Monday program was a visit to the New England Aquarium. There is no aquarium in Minneapolis, and Alex thought it might be fun to visit the New England Aquarium.
There were a few interesting displays on view at the aquarium, most interesting for us of which was the penguin exhibit. The penguins were fascinating to watch, and we could hardly take our eyes off the penguin community as it went about its daily routine.
I have no idea how the New England Aquarium measures up when compared to other aquariums around the world, but we were not particularly impressed. We did not believe it was worth the $19.95 admission price.
We left the aquarium in the early afternoon and walked over to Faneuil Hall Marketplace and had lunch at McCormick And Schmick’s. Andrew and I thought it was imperative that we give Alex at least one good seafood meal while he was in Boston, and we knew that McCormick And Schmick’s would not disappoint (although there is a McCormick And Schmick’s in Minneapolis, too). Our meal was excellent.
After lunch, we walked around Faneuil Hall Marketplace for a couple of hours before we returned home.
We stayed in for the rest of the day, playing cards and playing around on the computers and reading the Sunday newspapers one day late and cooking and listening to music (Tchaikovsky’s opera, “Eugene Onegin”, which Andrew and I will hear at the Metropolitan Opera next month, and Stravinsky’s complete score to the ballet, “Pulcinella”, the first piece of music by Stravinsky I have heard that I actually like).
We prepared a major dinner. Andrew baked bread for the second time in three days and, while the bread was baking, we made a tomato-cucumber salad and an Amish pepper salad, which we ate with warm bread. A bit later, we prepared a very sharp version of macaroni-and-cheese, and ate the macaroni-and-cheese with baked stuffed peppers and baked stuffed tomatoes. The main event came later: roast chicken and stuffing, mashed potatoes, and steamed peas and steamed corn. For dessert, Andrew made an apple cake.
Yesterday morning we slept in, knowing that Andrew and Alex would have to rise at 3:00 a.m. this morning in order to make it to Logan in time for Alex to catch his plane back to Minneapolis. We didn’t get up until almost 8:00 a.m., and we had another Sunday breakfast. We started with hot oatmeal with apple, cinnamon and raisins, and we followed that up with Eggs Benedict, and we ended with apple pancakes and sausage.
Our plan for yesterday was to visit the Peabody Essex Museum in Salem, but all through breakfast we discussed other options, such as the Science Museum and a few other alternatives. None of the potential alternatives captured our imagination or seized our attention, so we decided to stick with our original plan and head up to Salem.
The Peabody Essex Museum is the oldest museum in continuous operation in the United States, dating back to the late 18th Century. Its original mission was to collect treasures from all over the world and to bring them back to Salem for display. Salem’s trading firms, whose ships sailed the globe and engaged in trade in Europe, Africa, the Americas and the Far East, amassed hordes of items from all over the world during the era of clipper ships. The items they brought back to Salem form the basis of today’s collection, supplemented over the past century-and-a-half with items amassed by museum personnel.
We did not attempt to explore the entire museum, which is very large (it is one of America’s 25 largest art museums). Instead, we focused on the collections we believed would be of most interest to us.
On the first floor, we viewed the collection of maritime art and the collection of American decorative art, as well as the rooms addressing Salem’s seafaring history. On the second floor, we visited the collection of Japanese art.
That was enough for us. Nothing we viewed was of first- or second-quality. We did not bother even to take a quick stroll through the many temporary exhibitions or through the collections of art from China, India, Korea, Oceania, Africa and North America, or through the collections of photography, architecture, export art, and rare books and manuscripts.
The Peabody Essex Museum has an outrageous admission price, $15.00, which is more than it costs to gain admittance to the Louvre. The museum lacks a Louvre-quality collection, to say the least, and should reduce, even eliminate, its admission fee. The museum has a four-dollar collection, not a fifteen-dollar collection. At least residents of Salem are, I believe, admitted to the museum without charge.
We returned home by the middle of the afternoon and, first thing, we prepared a late lunch: poached salmon, wild rice and steamed broccoli.
We did not do anything for the rest of the day other than hang around the apartment.
Andrew and I gave Alex a good dinner for the final night of his visit. We prepared a pot roast with tomatoes, onions and peppers. We ate the pot roast with mashed potatoes, butternut squash, escalloped green and red cabbage cooked with butter and cream, and an apple salad. For dessert, we ate blackberry cobbler and ice cream.
I don’t believe Alex will be able to report back to Minneapolis that we did not feed him well during his visit!
I’m glad Alex came for the long weekend. He is very good company, and a very good guest, helping out whenever possible and lending a cheerful presence to what otherwise might have been simply another cold, and not particularly eventful, January weekend. Because of Alex’s presence, Andrew and I made a point of getting out and showing him some things we otherwise would have delayed seeing ourselves, perhaps for months if not years. That is one of the advantages of out-of-town visitors—they encourage hosts to discover interesting attractions in their own locales.
As for Alex, he had a very good time. He got plenty of rest, plenty of good food, plenty of company, and managed to see a few interesting things that made his weekend getaway worthwhile.
I don’t believe he could have done better.
His visit ended this morning, when we had to rise at 3:00 a.m. in order to get him to the airport to catch the first flight of the day to the Twin Cities. Andrew planned to take Alex to the airport by himself, but I heard the alarm go off and I decided to get up, too, and go to the airport with them. Because it was still the middle of the night when we left home—it was 4:00 a.m.—we did not have to contend with traffic in either direction.
Andrew is back at work today, but I am off this week. I will do some reading.
On Friday afternoon, Andrew and I will drive down to New York for the weekend, our final weekend of leisure before my classes begin again the following Monday, on which day it will be back to the grind for me, too. We plan to attend a performance of New York City Ballet, a performance of Miami City Ballet (the company will present a guest engagement at City Center), a concert by the New York Philharmonic (the guest conductor will be Riccardo Muti), and a performance of the Broadway revival of “Equus”, which will close soon.
Alex brought a copy of “Equus” with him from Minneapolis so that I can read the play before this weekend’s performance.
I am going to read it today.




