Baltimore Symphony Orchestra captures Shostakovich's genius

Marin Alsop leads the Baltimore Symphony Orchestra/Baltimore Symphony Orchestra

Before the Baltimore Symphony Orchestra played Shostakovich's Seventh Symphony, conductor Marin Alsop provided a brief history of the piece to a spellbound audience which filled the Strathmore Symphony Hall.

According to Ms. Alsop and program notes, Dmitri Shostakovich (1906-1975) was in Leningrad, the city of his birth, on the evening of June 22, 1941, where he was shaken by the news that despite an agreement between the Soviet Union and Germany, Adolph Hitler's forces had attacked his homeland.  It didn't take long for German forces to overwhelm Russia and begin bombing Leningrad.

Hitler's goal was to take down Leningrad, "the once and future St. Petersburg."

The protection of Leningrad, October 1, 1941/David Trahtenberg, Wikimedia Commons

During the onslaught, an estimated one million Leningrad citizens died, but the Russian people refused to give up their city, and Shostakovich's talents and fortitude helped them persist.

The timing of his start on the symphony is actually in dispute, according to Wikipedia, but some claim Shostakovich began the composition in July, 1941, after the German attack.  Whenever the start, he dedicated his work to the city of Leningrad which he refused to abandon. By October, Shostakovich had written three movements. 

Dimitri Shostakovich in 1942, the year the Seventh Symphony premiered/Wikimedia Commons

Under orders from the government which wanted to protect one of its most talented, Shostakovich moved with his family from Leningrad to Moscow and then to Kuibyshev, both cities which premiered the symphony the following March, after he completed it in late December. The March productions were broadcast in the Soviet Union and abroad.

Meanwhile, English and American audiences eagerly wanted to hear it, and the score was transported on microfilm by car, ship, and plane through Iran, Iraq, Jordan, Palestine, Egypt, and Brazil before reaching New York where orchestras competed to play the American premiere.  In a radio broadcast, Arturo Toscanini introduced it to the U.S. on July 19, 1942 with the NBC Symphony.  In the 1942-43 season, the BSO was one of 62 orchestras to play the work.  The entire composition calls for more than 100 musicians and lasts less than 90 minutes. 

Against a backdrop of quotes from Shostakovich and video of Leningrad and the initially downtrodden Russians, the BSO musicians enthusiastically played their most recent rendition.   The harsh sounds and clashes of war and its aftermath are the focus of the first movement, allegretto, lasting 28 minutes, however, the output and enjoyment of the music, despite its strident message, made it seem far shorter. 

Some have compared the movement to Ravel's Bolero to which Shostakovich replied, "That's how I hear war."

At the end and as expected, Strathmore attendees leaped immediately to their feet and gave the BS0 three encores.

Juxtaposed with Shostakovich's response to murder and political upheaval in his homeland during World War II, are the responses of another artist, Joan Miro, deeply affected by tragedies occurring at the same time in his native Spain.  On Sunday, a major exhibition of Miro's works, "The Ladder of Escape," opened at the National Gallery of Art in Washington, the only venue in the U.S.

It is clear that the Strathmore audience adores its BSO and the confident Ms. Alsop, the first conductor to receive a MacArthur Fellow and the first woman to lead a major orchestra in the U.S.  This September she will celebrate her fifth anniversary with the BSO. 

Next up for the BSO at Strathmore is a program featuring works by another Russian composer, Sergei Rachmaninoff, and an Englishman, Sir Edward Elgar.  Conductor Alsop will lead, with guest artist Andre Watts on the piano for Rachmaninoff.

When:  8 p.m., Saturday May 12, 2012

Where:  Strathmore Symphony Hall adjacent to Metro Grosvenor-Strathmore station with free parking in the Metro garage

How much:  Call 301-581-5800 at Strathmore or the BSO ticket office at 410-783-8000 or 877-BSO-1444 to see if any tickets remain since it's sold out on the Web. Update: Today (May 7) two tickets at $88/each remained for the Strathmore performance, however, $25 tickets are available if you will go to Baltimore. 

For more information: 301-581-5200

patricialeighleslie@gmail.com

Washington Capitals defeat New York Rangers in playoff game #4

At the East Falls Church Metro stop, this couple said they were on their way to the Nats' game, but she was wearing her lucky Caps earrings which worked for both the Nats and the Caps/Patricia Leslie

On the Orange Line on the way into town for the game, this New York Rangers' fan drew warm attention/Patricia Leslie

The march of the Red Soldiers in front of the National Portrait Gallery/Patricia Leslie

To honor the Capitals and the Nationals, Capital Bikeshare dyed all its bicycles "Fury Red"/Patricia Leslie

Market research on the street turned up one playoff ticket "upstairs" for only $50 with three handsome dudes, however, the norm Saturday for street prices was $80.  Not bad for a playoff game, especially when fans pay upwards of $80 to sit at the ceiling during the regular season/Patricia Leslie

Opposites attract/Patricia Leslie

"Greenie" was a star on Saturday and scored his first playoff goal this season/Patricia Leslie

Honored troops at the game/Patricia Leslie

Major Ben Hatch, Bronze Star Medal Recipient, was honored for his military service in Iraq and other places/Patricia Leslie

Major Ben Hatch, Bronze Star Medal Recipient, was honored at the game/Patricia Leslie

'Goat' leads the cheers/Patricia Leslie

A faceoff/Patricia Leslie

Waiting/Patricia Leslie

Braden Holtby, a net star/Patricia Leslie

The team converges on goaltender, Braden Holtby, to celebrate the Caps' victory, 3-2, joyous another OT was not necessary/Patricia Leslie 

Nicklas Backstrom was one of the "players of the game"/Patricia Leslie

And Mike Green was another.  "Greenie," "Backie," and "Ovie" all scored./Patricia Leslie

And the shirts came tumbling down/Patricia Leslie

White House furnishings close Sunday at Renwick Gallery

Armchair, 1818, made by William King, Jr. (1771-1854), Georgetown, D.C., mahogany, gift of Mr. and Mrs. John Ford Sollers, Sr., 1986/White House Historical Association

Well, if you can’t get in the White House, why not at least see some of its furniture, china, a president's breakfast tray, place settings, and other items now on display at the Renwick Gallery?

This lovely museum (one of the Smithsonians), which whispers refinement and culture, is located just down the street from the White House on Pennsylvania Avenue, next door to Blair House, if you’ve ever stayed there.  (No?  Then you must not be a head of state, but you are invited to the Renwick which is at the corner of Penn and 17^th Avenue North, NW, at no charge.)

The curators call the White House belongings, "decorative arts," and there are 95 pieces in the exhibition created to honor the 50^th anniversary of the White House Historical Association.

For anyone in or around or remotely interested in Washington, D.C. which shall include but not be limited to historians, White House aficionados, curiosity seekers, political junkies,  presidential scholars, art historians, and who's left?  This exhibition is absolutely “must-see.”

What are "decorative arts"?  Glad you asked:   They are anything which decorates, enhances, or adds to the richness of a living environment (like my parakeet) such as silver, glassware, chairs, tables, crystal and a bedspread.

And there is one last museum public talk about it to be delivered at noon, Friday, May 4, at the Renwick by White House Historical Association Vice President John Riley. 

The show includes a few of the 464 pieces of a silver set made in 1809-1810 which, despite criticism from Congressional members, President Andrew Jackson purchased in 1833 for the White House.  To buy the set, the president used money raised from an auction of White House furniture.  (Congress and the president weren't getting along then either.)

Also included in the Renwick presentation:

A large soup tureen with eagle finials made in France in 1809-1817 which President James Monroe purchased in 1817 to commemorate the U.S. victory in the War of 1812,

A large (very large) wild turkey platter from the Rutherford B. Hayes administration,

Pieces of the Lincoln china selected by Mary Todd Lincoln who was instrumental in the design of the wine-colored borders,
 

Teddy Roosevelt's silver breakfast tray,

A place setting for a state dinner with four forks, three knives, a dessert spoon and glasses  for water, champagne, wine, and dessert wine. 

Grace Coolidge hoped to start a tradition among First Ladies by leaving a special legacy to the White House, but her successors ignored her idea. You may see Mrs. Coolidge's gift, a beautiful and elegant bed covering she crocheted between 1925 and 1927 for the Lincoln bedroom.

The only outlier in the show is a 1903 amateurish painting of the Blue Room by Washingtonian Charles Bittinger (1879-1970) which may be one of the primary reasons it is there:  He was local.  Please, go have a look and see what you think. Honestly, I cannot imagine this hanging anywhere in the White House except inside a closet.

The entire exhibition is well laid out with decorative plants and an atmosphere of the 1920s to put a visitor "in the  mood."  On the three occasions I visited, no one obscured visibility.

At the end of the show and before reaching the gift shop, visitors will enter a small room with benches where they may sit and see an informative and exceedingly worthwhile video, At Home in the White House which stars Laura Bush, Tricia Nixon Cox, Rosalynn Carter, Susan Ford Bales, and Linda Bird Johnson Robb.  Not to miss!

What:  Something of Splendor: Decorative Arts from the White House

When:  Now through Sunday, May 6, 2012, 10 a.m. - 5: 30 p.m.

Where:  Renwick Gallery, 1661 Pennsylvania Avenue, N.W.

How much:  No charge

Metro stations:  Farragut North or Farragut West

For more information:  (202) 633-7970 or (202) 633-1000

patricialesliexam@gmail.com

Newsweek: Cancel my free subscription

The cover of the woman blindfolded is revolting.  The cover story about women enjoying sexual abuse is beyond the pale.  It is unbelievable.  I guess anything for a buck.

Have you tried canceling your subscription?  Try it.  It’s impossible on the Web.

Last week I tried.  Failure. 

Over the weekend when the upsetting cover surfaced in my stack, I tried again. 

Failure.  Impossible on the web. 

As if the misogynists and wife beaters need more tools.

You like whips and chain saws?  Newsrag's your meat.  You got snakes? 

In anger I sat down and composed a handwritten note to the Hollywood newsrag canceling my subscription.

But where to send my notice?

Try finding an address.  Not anywhere to be found in the rag.

Finally, after clicking and clicking on the Web, I found a telephone number for “customer service” (800-631-1040) where a woman canceled my subscription and said she did not have an address where I could mail my handwritten note.  At the subscription counter, no address for a rag.

She said she had heard the website had been having a lot of trouble lately, but a week?  “They” can’t repair a website in a week?  After hearing my challenge, she said she also could not find a way to cancel the subscription online.

She reminded me that my subscription had come at no charge (why else would anyone have it?  People pay for this thing?) with my WETA membership so I sent WETA an email and mailed my letter of complaint to which WETA responded with an address: 

555 W. 18th Street
New York, New York 10011

No wonder newsrag makes it almost impossible to cancel a free subscription.  How many subscribers would be left? 

Peter Marks! Live and on stage

Sophie Gilbert of the Washingtonian and Peter Marks of the Washington Post don't like being called 'idiots'/Patricia Leslie

Last week he was at the Helen Hayes Gallery at National Theatre with three other local theatre critics to talk about, what else? What they do for a living.

It was all part of the inaugural theatreWeek produced "to build awareness of Washington's vibrant theatre community."

Peter Marks of the Washington Post was surprisingly animated, talkative, and doubtful (at times) about his output and the future, coming close to saying he's going to retire after 20 years of writing about plays.

"I love doing what I'm doing," he said, "but I am conscious I am losing you." The market is shifting, and theatres are more sophisticated in marketing themselves via social media, he said. 

It's up to readers to decide which formats go, stay, and change, and those who cancel their subscriptions to the Post contribute to criticism's demise, Marks said.

 Other panel members were Robert Aubrey Davis of WETA, Sophie Gilbert of the Washingtonian, and Benjamin Freed from DCist.

From left, the critics' panel of Robert Aubrey Davis, Benjamin Freed, Sophie Gilbert, Peter Marks, and Linda Levy Grossman/Patricia Leslie

It seemed to be common knowledge at the event that theatre criticism is on the decline, and to those on the inside, at least, the industry has changed a lot, and not always for the good.

The critics seem genuinely surprised that their reviews can influence theatregoers.  Only a handful of the 40 or so in the mixed audience (composed of many actors) raised their hands when asked if reviews affect their attendance.

Marks said he tries to assign the Post's reviewers "to almost every professional production in the Washington area."   He is "constantly besieged" by publicists. All the Post's theatre critics, including Marks, have other feature assignments which is not "a good system" but "a result of diminishing resources."

A member of the audience asked about "adjectives" and Marks said they were a critic's "best friend and worst enemy...I live in terror" that he'll quote himself, and he uses  a software program to prevent repeats.  

Peter Marks lives in terror at times.  On the right is Linda Levy Grossman/Patricia Leslie

"Compelling" and "glorious" are only two often used words Marks says he tries to avoid, and he "retires" some words for four to six months.

Gilbert uses a thesaurus "a lot" and has found that she has repeated herself. Freed said "sometimes you coin a phrase you're really proud of."   Davis said: "When in doubt, strike it out."

Marks said a review does not make or break a show, but no one likes being called an idiot, which Gilbert said she's been called more than once.  Davis said he has had to make a formal apology to someone who complained to a higher-up about one of his reviews.  Panel consensus was they all try to be fair and balanced. 

Marks doesn't like being misunderstood by readers and "it bothers me not being able to break through….So few people understand what critics do." When he sees a play, he asks what it does to him or for him. Is it a waste of time?

He tries "not to talk down" to his audience like some critics, some of whom are "insecure."

Freed said some writers drop names, an annoying habit. Marks said "I love actors" (he acted in college), but he doesn't want to be "a cheerleader" and "my fear is looking like a 'patsy' and a 'softie.'" He tries to be honest: "I want to be nice" which becomes harder the larger a portfolio becomes.

In the past, reviews came out the day after a play was seen; now, "days and days" go by before one is released and there's more of "a delayed reaction."

Freed said when he writes, he "thinks with my heart at first, and then, I think with my head."

Davis grew up in Washington and has many years of theatre experience, not only as a critic but also as an actor having recently performed in Hairspray.  "Opening night is an artificial experience.  It's horrifying," he said.  The best theatre change he's witnessed over the years in the "chocolate city" has been the influx of African-Americans who are participating.

Answering a question from the audience, Gilbert said she spends between one and a half and two and half hours writing a review.

Freed said the hardest critiques to write are about those plays which leave him with mixed opinions.  The easiest are the ones "you hate or love." He loved Red and wrote that review in 30 to 45 minutes but "hated" Civilization at Woolly Mammoth which Gilbert didn’t like much either (faulty structure) but Marks did like.   (During the discussion that play was mentioned more than any other.)

Other plays cited during the presentation were Clybourne Park (generally loved), Art by Yasmina Reza (Davis:  not good), and Ah, Wilderness! (Gilbert: "It flowed so well.").

Marks said he "still sobs when Biff confronts Willie."

Linda Levy Grossman, president of theatreWashington, served as skilful moderator. 

Admonition to writers: Do not end a sentence with an adjective.

U.S. returns stolen artifacts to Italy

From an 15th century illuminated vellum

choir book page of "a generic Olivetan Martyr in the form of a monk" clutching a red book, one of seven artifacts returned to Italy by the U.S./Patricia Leslie

In a repatriation ceremony last week at the Embassy of Italy, the U.S. government returned seven stolen and looted artifacts and antiquities to Italy, recovered by joint operations conducted by global law enforcement authorities.

The presentation "marks a new step in the fruitful bilateral collaboration between Italy and the United States," Italian Ambassador Claudio Bisogniero said in a statement.

The pieces included two 2,000-year-old ceramic vessels, one Roman marble sculpture, a Renaissance painting, and three 13th century music sheets removed from choir books.

Apulian Red-Figured Situla, c. 365-350 B.C., one of seven artifacts returned to Italy by the U.S./Patricia Leslie

A warrior leaving home, probably Prince Hector and his father, Priam, the King of Troy, c. 480-460 B.C., one of seven artifacts returned to Italy by the U.S./Patricia Leslie

At the Embassy of Italy, seven artifacts recovered by global law enforcement agencies were returned to Italy by the U.S. in a repatriation ceremony/Patricia Leslie

Among those participating in the recovery of the works were the Carabinieri, Italy's national police force, the U.S. Immigration and Customs Enforcement's Homeland Security Investigations, and the U.S. Attorney's Office for the Southern District of New York. 

Said Manhattan U.S. Attorney Preet Bharara: "We are giving back to the Italian people a small piece of their history--and that could not be more gratifying."

Two of four investigations led to Italy's Gianfranco Becchina, an alleged smuggler, who supposedly masterminded the theft of the ceramic vessels from Italian archaeological sites into Switzerland.  Later they were shipped to a gallery in Beverly Hills, California and then transferred to Christie's auction house in New York where they were seized by Homeland Security.

The Roman marble sculpture also was supposedly lifted in Italy, again by Becchina's forces who followed the same route into Switzerland. After shipment to the U.S., the piece was sold at Christie's for $26,250 and then seized by Homeland Security.

Roman marble janiform herm, c. 1st century, one of seven artifacts returned to Italy by the U.S./Patricia Leslie

In 2006 the painting Leda e il Cigno by Lelio Orsi was illegally imported into the U.S. by way of JFK International Airport and auctioned in early 2008 by Sotheby's in New York for $1.6 million. Learning of the investigation, the buyer rescinded the purchase, and the painting was confiscated.

The mystery of the illuminated choir book pages ended in Portland, Oregon in 2010 after a rare book dealer put them up for sale on the Web drawing law enforcement's attention.  Ultimately, the dealer surrendered them along with another of the pages uncovered last June and included in the repatriation ceremony.  Two of the pages are believed to have come from a chorus book stolen from St. Paul Church in Pistoia in 1990, and the other from the Monastery of Monte Oliveto Maggiore in Siena taken in 1975. 

From an 15th century illuminated vellum

choir book page of "a generic Olivetan Martyr in the form of a monk" clutching a red book, one of seven artifacts returned to Italy by the U.S./Patricia Leslie

An illuminated vellum choir book page, c. 13th century, one of seven artifacts returned to Italy by the U.S./Patricia Leslie

An illuminated vellum choir book page, c. 14th century, one of seven artifacts returned to Italy by the U.S./Patricia Leslie

Laws signed by the U.S. and Italy prohibit the importation of certain Italian artifacts without proper documentation.

Persons found guilty of trafficking in stolen cultural heirlooms can face fines, restitution to purchasers, and prison terms of 20 years.  Homeland Security has returned more than 2,500 items to more than 23 countries since 2007. 

patricialesliexam@gmail.com

Hours extended for rare Japanese bird-and-flower paintings at the National Gallery of Art

At the opening of the exhibition/Patricia Leslie

For the last weekend of the celebrated Colorful Realm exhibition at the National Gallery of Art, hours will be extended until 8 p.m. to accommodate visitors this Friday, Saturday, and Sunday, according to a Gallery statement.

The adjacent shop and Garden Café Italia will also remain open until 8:00 p.m. with last seating at 7:30 p.m.

Almost 6,800 persons have visited the exhibition daily, ranking it in the Top Ten for average daily attendance at the National Gallery, and rivaling the acclaimed 1976 Treasures of Tutenkhamun and exceeding average daily attendance for 1988’s The Art of Paul Gauguin. Tuesday at lunchtime viewers stood sometimes three deep in front of each of the 30 works. 

The large scrolls of bird-and-flower paintings on silk by Itō Jakuchū (1716–1800) are meticulous in detail and technique, images visitors will not forget. They are rarely shown together in Japan, much less another nation presenting, for most, a once-in-a-lifetime experience.  The sojourn in Washington marks the first time the works have traveled outside Japan in their entirety over their 250-year history.

Through mid-April 143,000 guests had visited the exhibition which is a special presentation offered to the American people by the Japanese Imperial Household Agency, the Embassy of Japan, and Nikkei, Inc. to honor the centennial celebration of the planting of 3,000 cherry trees in Washington, D.C.

At 2 p.m. Sunday in the East Building Concourse Auditorium, the guest curator, Yukio Lippit, will give a talk about the exhibition and "Juxtaposition, Naturalism, and Ritual" before catalogue signings.

Śākyamuni Triptych, c. first half of the 1760s ink and colors on silk, Jōtenkaku Museum, Shōkokuji Monastery, Kyoto/Patricia Leslie

What:Colorful Realm of Living Beings: Japanese Bird-and-Flower Paintings by Ito Jakuchu

When: Now through April 29, 2012, 10 a.m.- 5 p.m., Tuesday through Thursday,  from 10 a.m.- 8 p.m., Friday and Saturday, and from 11 a.m.- 8 p.m., Sunday. After 5 p.m. on Friday and Saturday, and after 6 p.m. on Sunday, visitors must enter the Sixth and Constitution Avenue NW entrance of the West Building.

Where: The Ground Level, West Building, National Gallery of Art

Admission: No charge

Metro stations: Smithsonian, Federal Triangle, Navy Memorial-Archives, L'Enfant Plaza, and/or ride the Circulator

For more information: 202-737-4215
patricialesliexam@gmail.com