In the vast, resonant expanse of the Cathedral of St. John the Divine, Musica Sacra, under the inspired direction of Kent Tritle, delivered a SurRound II concert of such ethereal
The Leonkoro String Quartet delivered a performance of breathtaking virtuosity and emotional depth, suspending time as they traversed three centuries of chamber music with astonishing precision and interpretive maturity that far exceeded their years as an ensemble.
The High Octane Octet program, presented on March 28, combined remarkable musicianship with period-authentic instruments to create an evening of rare musical splendor. This milestone celebration showcased why ACO remains one of America’s most vital classical ensembles.
Nestled in the heart of Manhattan, The Cutting Room is more than just a performance space—it’s a hallowed hall for musicians and music lovers alike. With over a decade of cultural imprint, it has hosted an eclectic roster of top-tier performers, including John Mayer, Lady Gaga, Sting, Sheryl Crow, and the late David Bowie. Their appearances here are not mere footnotes in the venue’s history but proof of its enduring magnetism and relevance in New York’s ever-evolving music scene.
This concert was no costume party of musical nostalgia. The American Symphony Orchestra, under the inspired baton of Leon Botstein, offered something far more nourishing: a sweeping, intelligent, and emotionally resonant exploration of rarely performed masterworks in a program aptly titled Tapping into the Twenties.
Jazz vocalist Gabrielle Stravelli has always carried the torch of the American Songbook with elegance and an unmistakable voice that sparkles with charm, authenticity, and life. At her recent performance at Birdland Jazz Club, Stravelli did far more than entertain—she enraptured. With a keen sense of drama, humor, and a voice that could melt or invigorate, she delivered a vocal jazz performance that reminded us why live music remains irreplaceable.
As a gentle, meditative melody plays, ten senior actors stand motionless, facing the audience. The silence is weighty yet peaceful, inviting the audience to enter the world of Above Ground – Not Exactly a Comedy with a contemplative stillness. Above the stage, a large screen mirrors the image of the cast, reflecting them as they are—no embellishments, no illusions. It is a powerful prologue, setting the tone for a production that embraces authenticity, memory, and the undeniable passage of time.
Set in Del Ray, Florida, Touch, written by Lori Goodman, is a play about lifting oneself and moving on. About what it’s like to date at a mature age when the pickings are limited and those that are available are so set in their ways. Touch introduces us to Betty (Carole Forman), a widow whose son, Jim (Alex Brightwell), also living in Florida, is her main friend and companion. Jim is doing all he can for his mother and trying not to go crazy with daily calls and repetitive conversations. Bob (Willie C. Carpenter), a widower living in the same community, lost his wife and met Maureen (June Ballinger ) at the local grocery store.
Hearing a symphony orchestra from a distance is one thing, usually from a seat in the audience below the stage. It is entirely different when you are inside the orchestra—to feel the strings’ vibrations, witness the intense communication between musicians, and experience the energy of the music from within. This was a revelation for me, even as someone deeply embedded in the musical world.
Full disclosure – I am not very very very familiar with Sam Shepard’s work. Or I have forgotten what little I knew. I do remember seeing “True West” several times after it was filmed. I did see “A Lie of the Mind” back in the 1980s.
