City Opera’s Bad Boy

Toward the end of the 2000 Salzburg Festival, Gérard Mortier, the Belgian impresario whom the New York City Opera has just named to take over the company’s fortunes in 2009, delivered a memorable operatic rant that Wagner would have applauded. For a decade, Mr. Mortier had run the festival less like the world’s most exalted Read More

The Catsimatidis Agenda

Granted, John Catsimatidis has made noises about running for mayor before. More than once.

But there’s still something refreshing about a person so willing to talk about every aspect of his theoretical campaign before so much as hiring a press secretary.

Yesterday, we chatted about some of the specifics of Read More

Parker’s Doze-y in Oh in Ohio

“Why, oh why, oh why, oh—why did I ever leave Ohio?”

Betty Comden and Adolph Green wrote those lyrics way back in 1953 for Rosalind Russell to wail in Wonderful Town. Had they known then what would happen 53 years later, they might have filed an early injunction against a sophomoric, confused and frankly Read More

Parker’s Doze-y in Oh in Ohio

“Why, oh why, oh why, oh—why did I ever leave Ohio?”

Betty Comden and Adolph Green wrote those lyrics way back in 1953 for Rosalind Russell to wail in Wonderful Town. Had they known then what would happen 53 years later, they might have filed an early injunction against a sophomoric, confused and frankly filthy Read More

Triumphant American Premiere For Frenchman’s Piano Concerto

In the great piano concertos of Beethoven, Brahms, Tchaikovsky, Ravel and Bartók, the driving impulse is a kind of competition for eloquence. The piano declares itself with fierceness, tenderness or loneliness, only to find its sentiment amplified or elaborated upon by the orchestra. The orchestra suggests a new sentiment and the pianist responds, as if Read More

Triumphant American Premiere For Frenchman’s Piano Concerto

In the great piano concertos of Beethoven, Brahms, Tchaikovsky, Ravel and Bartók, the driving impulse is a kind of competition for eloquence. The piano declares itself with fierceness, tenderness or loneliness, only to find its sentiment amplified or elaborated upon by the orchestra. The orchestra suggests a new sentiment and the pianist responds, as if Read More