Articles

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Wilder (left) and Stutts: Bitter with the sweet.

"Noël and Gertie' at the Walnut's Independence Studio 3 (2nd review)

The anguish behind the wit

Noël and Gertie is a series of reminiscences and songs by Coward and Gertrude Lawrence, for whom Coward wrote some of his best-remembered pieces. Theirs was an unequal relationship, and Sheridan Morley's script has its pluses and minuses.
Steve Cohen

Steve Cohen

Articles 3 minute read
Alsop: Parting company wth Bernstein.

Marin Alsop's elegant simplicity

Less bombastic, but thoroughly convincing

Marin Alsop conducts the classics much the way she dresses: unfussy, simple and elegant.
Steve Cohen

Steve Cohen

Articles 2 minute read
Samuel Hsu:  Embracing old and new alike.

Samuel Hsu: A polymath's giant shadow

The world was his classroom

The polymath Dr. Samuel Hsu, who died last week, was a pianist and musicologist who spoke eight languages and was conversant in linguistics, philosophy, science, theology, history, fine arts, archaeology, literature, ice hockey. He was a Presbyterian elder who was steeped in Buddhism and Judaism. He was elite but never elitist.
Kile Smith

Kile Smith

Articles 6 minute read
Stutts (left) and Wilder: Nasty meets selfish.

"Noël and Gertie' at the Walnut's Independence Studio 3 (1st review)

A case of misery loving company

Noël Coward was a celebrated English wit and dramatist. Gertrude Lawrence was a legendary star of the musical stage. By most accounts, neither of them ever bored anybody. Until now.
Jackie Schifalacqua

Jackie Schifalacqua

Articles 3 minute read
'Head of a Woman' (1921): Inviting us to finish his work.

Picasso's early drawings, at the Frick in NY

Less is more: Picasso the draughtsman

Line— a relatively neglected aspect of his oeuvre— was always more important to Picasso than anything else. From his earliest academic exercises to the breakthrough of Cubism to the monumental neoclassic works of 1920-21 with which the show concludes, this is an artist who never ceases to surprise.
Robert Zaller

Robert Zaller

Articles 6 minute read
‘Autumn Shadows’ (2010): That hypnotic feeling.

Scot Borofsky at Jules Goldman Books

The newest art venue

Scot Borofsky's work varies from totally abstract imagery to abstract-with-traces-of-figurative motifs, always with nervous energy

Andrew Mangravite

Articles 1 minute read
Handel's my frequent companion— on my iPod.

Panel discussion: The Orchestra's future

That Alice In Wonderland feeling, or: A 20-something at BSR's Orchestra panel

Why haven't my 20-something peers and I been to the Philadelphia Orchestra, especially when it so desperately needs a new generation of patrons? Broad Street Review brought seven panelists together last week to attempt some answers. They might better have asked: Why don't we read newspapers?
Alaina Johns

Alaina Johns

Articles 6 minute read
Bono thanked everyone except....

Of AIDS and the Philadelphia Orchestra

The unsung heroes of the AIDS battle (not to mention the Philadelphia Orchestra)

What do scientists at big drug companies have in common with musicians at big orchestras? They're essential— and taken for granted. And what does that say about the rest of us?
Victoria Skelly

Victoria Skelly

Articles 3 minute read
Chunky Move's 'Connected': Why bother to figure it out?

When choreographers talk (too much)

Here's what I meant to say…..

Why do choreographers engage in post-performance talkbacks to explain what they were trying to say? Why don't they let the artwork speak for itself?
Jim Rutter

Jim Rutter

Articles 3 minute read
I gave Mahalia Jackson my dinner, and was amply rewarded.

"DownBeat' magazine at 75

Jazz vs. religion? No contest

Sister John, my grimly serious music teacher, whomped my knuckles when I tried to imitate Harry James on trumpet. By contrast, Mahalia Jackson, Marshall Stearns and DownBeat Magazine introduced me to a world that still resonates today.
Patrick D. Hazard

Patrick D. Hazard

Articles 5 minute read