MARTY SOHL/METROPOLITAN OPERA
C1 Oct. 30–Nov. 5, 2015
American soprano Lise Lindstrom in the title role of Puccini’s “Turandot.”
Opera Review
Zeffirelli’s Production of ‘Turandot’ Still Wows Audiences By Barry Bassis
N
EW YORK—Franco Zeffirelli’s production of “Turandot” at the Metropolitan Opera is visually spectacular, but since this is a Puccini opera, the audience won’t leave humming the scenery. With the Met’s top-flight orchestra, chorus, and strong cast, the music casts its own spell.
METROPOLITAN OPERA
Although “Turandot” takes place in ancient China, the work is based on a 1762 play by Italian writer Carlo Gozzi. Like Verdi, Puccini’s talent lasted until the end of his life. In fact, “Turandot” was unfinished at his death in 1924 and completed by Franco Alfano. While Puccini was usually attracted to weepy stories, like “Madame Butterfly” or “La Bohème,” “Turandot” is not especially heartwarming. Soprano Leah Crocetto.
See Turandot on C5
C2
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS BY SAMIRA BOUAOU/EPOCH TIMES
Etruscan gold earrings dated circa 500 B.C. at the Phoenix Ancient Art gallery.
Visitors at the Ronald Phillips Ltd. gallery at The International Show at the Park Avenue Armory on Oct. 23.
Buccellati bracelets at the Camilla Dietz Bergeron Ltd. gallery.
Pieces at the Erik Thomsen gallery.
A William and Mary scarlet, gilt, and silver-japanned secretaire-on-chest at the Frank Partridge gallery.
A German model of an equestrian jousting armor at the Peter Finer gallery.
Jewelry at The International Show on Oct. 23.
A Dihl and Guérhard, Paris, biscuit porcelain of a seated infant boy after a model by Charles Gabriel Sauvage at the Brian Haughton Gallery.
Highlights From The International Show By Kati Vereshaka | Epoch Times Staff
N
EW YORK—The International Show has been an annual must-see event for antique and contemporary art collectors the world over. This year, the consensus from the public has been that of admiration for the bright color scheme and floral displays that complemented the wide range of art works spanning over 2,000 years of culture. There were many highlights among the objects d’art on display from 67 top dealers. It was hard to miss the Phoenix Ancient Art display, which included a breathtaking ensemble of Etruscan jewelry dated circa 500 B.C.—the gold filigree and agate necklace was once in the possession of Jacqueline Kennedy Onassis, whose name it bears. Not far from it, and historically related in style, was a gold necklace in the James Robinson Inc. display. The Victorian necklace was made in the 1860s by Carlo Castellani. Connoisseurs of Victorian jewelry will be familiar with Castellani’s gold work as he created some of the best Etruscan revival pieces of the time. Yet the necklace can just as easily be appreciated by anyone due to its simple lines while also demonstrating intricate workmanship. “Everything about it, the detail of the clasp, the detail of the underside is just exquisite,” said James Bonan of James Robinson Inc., fivegenerations of dealers who have been at the Park Avenue store since 1912. London-based fair organizer Brian Haughton, who also specializes in 18th century English and continental ceramic works, commented on the advantages of the International
The vetting committee is composed of collectors, dealers, as well as museum curators to ensure the authenticity of the works on show.
Show, saying that the works on display are of museum quality, yet unlike at a museum, visitors are able to purchase them. He added that the vetting committee is composed of collectors, dealers, as well as museum curators to ensure the authenticity of the works on show. The committee members remain anonymous and curators choose to participate because they can share their expertise while also learning from the experience. “It’s a give and take,” said Haughton. Overall, this year’s show has proven to be “a beautiful, eclectic mix of art,” in the words of Erik Thomsen of Erik Thomsen Asian Art. He commented that collectors are attracted to the clean aesthetic of Japanese art and design pieces, which can be easily harmonized with contemporary décor styles. The works on display at the eponymous gallery span from the 6th to 20th centuries, with unusual lacquerware and basketry pieces. Thomsen remarked that currently, lacquer-
ware collectors are less concerned about the age of the pieces—what they look for, instead, is quality and design. Although the majority of pieces at the art fair were European, Asian art was featured as well alongside Asian-art-inspired works. One such example was an unusual bright red gilt and silver, Japanned secretaire-onchest dated circa 1690 in the Frank Partridge gallery. The secretaire was decorated with elaborate chinoiserie scenes depicting figures and fantastical beasts in landscapes. Partridge, who is a fourth generation antique dealer explained, “It’s incredibly rare to get lacquer in this condition made in the 1690s.” This goes for many of the works on display at the The International Fine Art and Antique Dealers Show this year—a reminder that once the show ends, the art works currently under the same roof will be found in individual galleries all over the world.
Etruscan revival necklace, 1860s, by Carlo Castellani at the James Robinson Inc. gallery.
Brian Haughton, organizer of The International Show.
Carlo Castellani created some of the best Etruscan revival pieces during the Victorian period.
C3
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts JOAN MARCUS
Theater Review
‘The Gin Game’ By Judd Hollander NEW YORK—James Earl Jones and Cicely Tyson are the stars and also the entire cast of the glittering Broadway revival of D.L. Coburn’s 1976 comedic play “The Gin Game.” The work shows there are still some surprises to be found in life, even if you’re getting close to the end of the road. It’s visiting day at the Bentley home for the aged and neither long-time resident Weller Martin (Jones) nor the newly arrived Fonsia Dorsey (Tyson) has anyone coming by to see them. Both are long since divorced with children grown and gone. With not much else to do, Fonsia accepts Weller’s offer to play a couple of hands of gin rummy. It’s a card game she’s never played and one at which Weller claims he is an old hand. Not only does Fonsia take to the game like a fish to water, but she also starts winning hand after hand after hand. Her good luck creates growing annoyance in Weller—which eventually crescendos into both frightening and humorous moments. Weller drives Fonsia away with his flights of anger but then coaxes and pleads with her to come back to the table. Weller’s purpose is not only to engage Fonsia for another rematch, but also to retain her company: She’s probably the only person who would put up with his garrulous manner. In fact, both are rather lonely for companionship, though neither mentions it. In between the laying down and dealing of the cards, the audience is offered a glimpse into who these people are. Fonsia, for example, has had a bit of bad luck when it comes to men, while Weller is revealed to be not as smart as he thinks he is. More than once, Weller reminds one of a schoolyard bully who screams and rages about the most inconsequential matters when things don’t go his way. Although Weller is capable of a tender gesture now and again, such moments are usually on his own terms. In fact, the relationship between Weller and Fonsia at points resembles an abuser and enabler. Then again, Fonsia is no angel and is perhaps a bit too pious and unyielding for her own
How many of us really make an effort to be someone people would want to pay their respects to?
‘The Gin Game’ Golden Theatre 252 W. 45th St. Tickets 212-239-6200 or Telecharge.com Running Time 2 hours (one intermission) Closes Jan. 10, 2016
good. She, as is Weller, is an expert in the art of denial when matters strike too close to home. Coburn has a crafted an enjoyable tale, and the actors deliver their lines with perfect pregnant pauses and slow burning moments. As Weller cynically notes at one point, “I have one of the most advanced cases of old age in the history of medical science. The mortality rate’s incredible.” Between the moments of levity, the show also works in some serious aspects concerning the aged, those who are supposed to be taking care of them, and those who put them in such homes to begin with. Weller’s remark about how many of Ty Cobb’s former teammates came to his funeral is also quite telling. Don’t we all want to be mourned when we pass away? Yet, especially in the fastpaced world in which we live today, how many of us really make an effort to be someone people would want to pay their respects to when the time comes? In this respect, this play could have easily been written last year, instead of almost three decades ago. Best of all is the way Jones and Tyson beautifully play off each other. Their characters come across as two rather set-in-their-ways folks. Each is realistic enough to accept how their lives have turned out, but neither is willing to let the other roll all over him or her.
TIM LLEWELLYN
Book Review
An emotional highlight of the show is a dance sequence between Jones and Tyson. The scene offers a brief glimpse into the myriad of possibilities that could still be open to each of these characters should they wish to take those steps. Whether Fonsia and Weller will actually be wiser or more accepting after what they’ve experienced is open to question; the older we get, the more resistant to change we usually become. The tension in the story rises and falls throughout as Leonard Foglia directs the proceedings with a subtle touch, letting the two stars (both of whom deserve Tony nominations for their performances) take command of the piece. Yet Foglia never lets the actors or their personalities overwhelm the characters. Riccardo Hernandez’s set of the back porch of the Bentley home—one filled with clutter and junk—works well. Jones often flings stuff around with abandon whenever the spirit moves him. Also very good is the lighting design by Jules Fisher and Peggy Eisenhauer, the effect nicely expressing the feeling of time passing. With two old pros holding court, “The Gin Game” is one of the best evenings in theater I’ve had in a long time. Judd Hollander is the New York correspondent for the London publication The Stage.
Stone lithographic advertising poster detail, China, Ca. 1920
‘Being Mortal Medicine and What Matters in the End’ Atul Gawande.
By Chelsea Scarnegie It is easy to acknowledge that medicine works wonders in people’s lives; it is much more difficult to accept the one thing that medicine will never be able to cure: death. Atul Gawande’s “Being Mortal: Medicine and What Matters in the End” is a book with heart, and it attempts to share that heart with those who read it. The author sets out to remind readers of their own mortality and encourages them to confront it in the medical field. His understanding of our medical system comes from a firsthand perspective—Dr. Gawande is himself a surgeon. He has seen doctors subscribe patients to miserable circumstances all in the name of a longer life. “Some will be alarmed by the prospect of a doctor’s writing about the inevitability of decline and death,” he admits. But death is a reality that requires contemplation. “Being Mortal” is a book that asks what it means to be alive. Dr. Gawande finds one answer in the geriatric wing of his hospital, watching chief geriatrician Juergen Bludau give examinations. “The job of any doctor, Bludau later told me, is to support quality of life, by which he meant two things: as much freedom from the ravages of disease as possible and the retention of enough function for active engagement in the world.” In many cases, this quality of life cannot be achieved in a standard nursing home. This is not to say that nursing homes are bad places; they simply did not get their start from the right place. Dr. Gawande said that nursing homes developed “more or less by accident” after doctors decided that the elderly needed a place where they can be physically treated— often neglecting patients’ emotional needs as a result.
See Being Mortal on C5
Dr. Gawande realizes that we are at our happiest when we feel our lives have purpose.
METROPOLITAN
‘Being Mortal’ Author Atul Gawande Publisher Metropolitan Pages 283 pgs Price $26
Stars James Earl Jones and Cicely Tyson make this rebooting of D.L. Coburn’s play “The Gin Game” wonderful.
Look into the East At the gallery of Michael Ayervais
Where Asian art comes to life in a magical setting 40 West 25th St. New York #228-229 | 917-623-2571
C4
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS COURTESY OF GILLIAN ZOE SEGAL
Sibylle’s Style Diary
Gillian Zoe Segal on Dressing for Success By Sibylle Eschapasse This week’s style diary guest, Gillian Zoe Segal, is the author of the newly published “Getting There: A Book of Mentors.” The Canadian-born author and photographer has lived in New York since she was 8. Segal has met many successful people—Warren Buffett, Michael Bloomberg, among so many others—to write her newly published book, in which they share their secrets of reaching success. Sibylle Eschapasse: Describe your style? Gillian Zoe Segal: I run the spectrum between simple-elegant and boho-chic. Ms. Eschapasse: If a close friend were to describe your personality in three words, what would they be? Ms. Segal: Up for anything!
Style involves taking risks and letting your unique personality shine through. Gillian Zoe Segal, author and photographer
Gillian Zoe Segal in June 2012.
Ms. Eschapasse: How did your style evolve since you were a teenager? Ms. Segal: When I was a teenager I remember thinking I had to decide on a specific style and commit to it. I’d wonder, “Should I be preppy? Downtown-cool? Uptown/fancy? A hippie?” At some point I realized that I didn’t have to label or limit myself. I could just go with the flow and wear things I was attracted to. My style now is very non-deliberate. If I’m drawn to something and think it’s flattering, I wear it.
Ms. Segal: I work from home so workdays and weekends can be one and the same, style wise. When I don’t have any meetings or social plans I am as casual as can be. I hoard jeans, have been a loyal clog wearer for years, and, call me a techie, but I also love hoodies and sneakers. Ms. Eschapasse: What are three accessories you can’t live without, and what’s one item that makes you instantly more confident? Ms. Segal: AG Jeans, clog boots, and ... can my hair count as an accessory? The way my hair looks makes all the difference in how I feel. Left to its own devices it’s a frizzy mess, but I wish it was straight—so I blow it out to show it who’s boss. If I don’t have the time, or it’s super humid out, it’s basically up in a bun.
Ms. Eschapasse: What is the wildest thing you ever wore? Ms. Segal: I recently wore a pair of red and white vinyl, over-the-knee, Wonder Woman boots out to dinner with my boyfriend. They were literally from a Wonder Woman Halloween costume—but I thought they were totally cool. One flashy accessory per outfit is enough for me, so the rest of my ensemble was pretty conservative (an A-line, black leather mini skirt and a fitted black sweater with a white skinny shirt underneath). It was a lot of fun, so don’t be surprised if you see me in those boots again! Ms. Eschapasse: How do you dress on workdays versus weekends?
Gillian Zoe Segal in September.
Ms. Eschapasse: Who have been your greatest fashion influences? Who is your style icon? Ms. Segal: Diane Von Furstenberg, Carolyn Bessette, and my mother, Leanor Segal. My mother has always marched to the beat of her own style drum and taught me to be both creative and resourceful. I often alter the clothing I buy (in not such small ways) and love to mix and match (old with new and expensive with thrift). Speaking of thrift, I am totally obsessed with consignment shops. Ms. Eschapasse: What does having style mean to you? In other words, please define style. Ms. Segal: Style is a personal expression. If you wear exactly what everyone else wears, how they wear it, that’s not style. Style involves taking risks and letting your unique personality shine through. The best way to achieve this is to not care about what everyone else is doing and follow your heart. Don’t worry if what you wear is “in” or not. To prove that I practice what I preach, I still wear Oakley Minute sunglasses (I buy them on E-bay). Ms. Eschapasse: What is one purchase you’re most proud of? Ms. Segal: I get a high off of getting a great bang for my buck. A couple of years ago I bought a basic black coat from Zara and replaced its buttons with these incredible gold ones I bought at another store. So many people compliment me on it—and I tell them all what to do! Ms. Eschapasse: What would you pay a lot of money for? Ms. Segal: Footwear. Good quality shoes/boots really last—and can carry a classic outfit from year to year. Ms. Eschapasse: What is most important element in dressing for success? Ms. Segal: It’s essential to feel confident and comfortable in what you wear to work and work events. Why? We all have a limited amount of mental energy and you want to be
Katsushika Hokusai (1760-1849) Thirty-Six Views of Mt. Fuji: Umezawa Hamlet-fields in Sagami Province (detail) 9 7⁄8 by 14 5⁄8 in., 25 by 37 cm
145 West 58th Street, suite 6D New York, NY 10019 tel. 212.585.0474 fax. 212.585.0475
info@scholten-japanese-art.com www.scholten-japanese-art.com
able to focus yours on achieving your goals—not on what people think of your outfit. In order to achieve this you must know your audience and dress for the part that you want to play. A creative outfit that would go over swimmingly at your Conde Nast job might not go over so well at Goldman Sachs—and an outfit that makes you feel great at Goldman Sachs would probably make you feel super awkward at a tech startup. Also, like it or not, people do judge books by their covers. You don’t want to have to work to get over someone’s first impression of you. Ms. Eschapasse: Who are your favorite designers? Ms. Segal: Missoni, Prada, Gucci, Dolce Gabana, YSL, and Theory. Ms. Eschapasse: What do you think of how others dress and what’s your advice to people who would like to develop their personal style? Ms. Segal: Regarding how others dress—I certainly don’t always like what others wear, but to each her own! How boring would it be if we all dressed the same? And how would styles ever evolve? We depend on people experimenting with new things, and we all learn from each other. With regard to developing your own style— don’t overthink it! If you like something, wear it. You never know, your friends may end up emulating you.
Favorites Favorite color: Turquoise (especially in jewelry). Favorite perfume: I don’t wear perfume, but when it comes to scents I love Tata Harper’s Revitalizing Body Oil. It’s like a relaxing day at a spa, in a bottle. Favorite restaurant in NY: Mermaid Inn. Their fish tacos are the best I’ve ever had. Favorite drink: These days it’s vodka (up with a twist). Favorite movie: “About A Boy.” Favorite book: “The Glass Castle,” by Janette Walls. Favorite quote: “If you never fail it means you are not trying hard enough” —Kathy Ireland (from her essay in my book, “Getting There: A Book of Mentors”). Sibylle’s Style Diary explores style from the perspective of choices, and what that means for different people, with personal advice from some of the most stylish people in New York. Sibylle Eschapasse is from Paris and now lives in Manhattan. She is a journalist and a contributing writer to various publications. Sibylle is also the author of a children’s book, “Argy Boy!: a New York Dog Tale.” She may be reached at Sibylle.Eschapasse@gmail.com
Gillian Zoe Segal (C) on the set of “Good Day New York” with hosts Rosanna Scotto and Greg Kelly in June.
C5
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts KEN HOWARD/METROPOLITAN OPERA
MARTY SOHL/METROPOLITAN OPERA
MARTY SOHL/METROPOLITAN OPERA
Opera Review
(Top R) Marcelo Alvarez as Calàf, who aims to woo Princess Turandot, in Puccini's "Turandot."
Zeffirelli’s Production of ‘Turandot’ Still Wows Audiences
(R) Lise Lindstrom as Princess Turandot.
Turandot continued from C1 Icy Princess Turandot is eligible to be married, but the dating ritual is deadly; suitors have to answer three riddles or die. At the beginning, the Prince of Persia is beheaded for failing the test. Calàf is among the onlookers and strangely decides the princess is the woman for him. Coincidentally, he recognizes his long lost father, the exiled King Timur of Tartary, in the crowd. The old man is traveling with Liù, a slave girl, who readily admits that her feelings toward Calàf are the reason she continues to care for his father. When Calàf announces his intention to win Turandot’s hand in marriage, his father and Liù tell him he’s nuts. Three comic characters— the ministers Ping, Pang, and Pong—also try to discourage him. In the second act, Turandot appears and relates how her ancestor, Princess Lou-Ling, was kidnapped and murdered by an enemy army. As a result, Turandot is determined never to marry and to carry out revenge on any suitors. Calàf answers her three riddles, but he inexplicably gives her another chance to execute him. He declares that if she can learn his name by dawn, she can have him beheaded. Turandot issues a proclamation that no one can sleep until the stranger’s identity is discovered. Soldiers capture Timur and Liù and bring
As Calàf, tenor Marcelo Alvarez made a strong impression, bringing the house down with his ‘Nessun dorma.’
MARTY SOHL/METROPOLITAN OPERA
them before the princess. She orders them to speak. The slave girl says that she alone knows the suitor’s name but refuses to answer even when she is tortured. She grabs a dagger and, declaring her love for the stranger, kills herself. Suddenly, the princess softens her resolve, and Calàf then reveals his name. Liù is quickly forgotten and the two lovers go off to live happily ever after. The Performance There was a 45-minute wait after the first intermission, but the audience didn’t complain. In fact, even though the music was playing, they burst into applause when they saw the Peking Imperial Palace. Whatever gold wasn’t used in the set rained down on the assembled masses on stage at the end. The title role in the opera calls for an almost Wagnerian sound—it was probably the finest Italian role of Birgit Nilsson—and here was performed by Lise Lindstrom, an American soprano who has made a specialty of the part at the Met and around the world. In fact, it was her debut in this role at the Met in 2009 that brought her international recognition. Her big voice soared over the orchestra in her famous aria “In questa reggia.” As Calàf, tenor Marcelo Alvarez made a strong impression, bringing the house down with his “Nessun dorma.” While he belted out that showstopper, his entreaty to Liù not to cry (“Non piangere, Liù”) was sensitively done. The most appealing character in the opera is the slave girl Liù, and soprano Leah Crocetto (from Adrian, Michigan) is making a terrific debut in the part. Her aria in Act I, “Signore, ascolta,” was truly beautiful and moving. Bass-baritone James Morris, who first appeared at the Met in 1971, is solid as Timur. The Ping, Pang, and Pong of Dwayne Croft, Tony Stevenson, and Eduardo Valdes were well sung, even if the supposedly humorous roles are the weakest element in the opera. Conductor Paolo Carignani led a vibrant performance of the colorful score. “Turandot” will be performed with changing casts on Oc. 26, 30; Nov. 3, 7 matinee, 12; Jan. 11, 15, 18, 22, 26, 30 matinee.
KEN HOWARD/METROPOLITAN OPERA
MARTY SOHL/METROPOLITAN OPERA
For tickets, call 212-362-6000, or visit MetOpera.org Barry Bassis has been a music, theater, and travel writer for over a decade for various publications.
Book Review
‘Being Mortal: Medicine and What Matters in the End’ Being Mortal continued from C3 Consequently, nursing homes face minor rebellions that are all too quickly quenched. For example, a woman with Parkinson’s disease steals solid food from other residents when she should be eating a puréed diet. A man with Alzheimer’s disease hides junk food in his room. A diabetic secretly indulges in desserts. These of course are minor offenses, but they reveal how desperate we become to maintain our autonomy. One man named Lou Sanders was faced with this loss when his daughter Shelley had to surrender him to an assisted living facility that operated more like a safety-concerned nursing home. “What bothered Shelley most was
how little curiosity the staff members seemed to have about what Lou cared about in his life and what he had been forced to forfeit,” Dr. Gawande writes. He includes many other stories of patients who lose their valued independence, and they all feel that they have lost life’s meaning. “What more is it that we need in order to feel that life is worthwhile?” Dr. Gawande asks. Many wonder why it isn’t enough to have our basic needs (housing and food, for example) fulfilled. Philosopher Josiah Royce may have known the reason, the doctor says: “The answer, he believed, is that we all seek a cause beyond ourselves.” Being alive is not the same as living. Through his experiences and research, Dr. Gawande realizes that we are at our happiest when we
feel our lives have purpose. Finding purpose can be as simple as caring for a parakeet or a fern. In one case, a formerly dreary nursing home found life and joy when a dedicated doctor brought in animals, plants, and children. It was discovered that the depressed residents were in need of a purpose, and for some, that purpose was as simple as making sure a little green bird was eating properly. The heart of “Being Mortal” rests in inspiring stories such as this. Similar warmth can be found in the book’s final chapters, dedicated to the perks of hospice care. Many equate hospice with surrender, but according to Dr. Gawande, this doesn’t have to be so. Instead of feeling dismal, it provides a comforting alternative to a life nor-
mally ended in a hospital bed hooked to tubes and machines. Although medicine has succeeded in keeping us alive, it often causes unexpected emotional suffering. Dr. Gawande writes, “The battle of being mortal is the battle to maintain the integrity of one’s life—to avoid becoming so diminished or so dissipated or subjugated that who you are becomes disconnected from who you were or who you want to be.” It is up to doctors to help patients fight this battle by learning to balance their knowledge of medicine with their patients’ desire to maintain a purpose. Chelsea Scarnegie, with a degree in writing, lives and writes in the Chicago area.
C6
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts KEN HOWARD/METROPOLITAN OPERA
Tosca
Oct. 16–Dec. 1 Metropolitan Opera 30 Lincoln Center Plaza
The many facets of Puccini’s eternal diva are explored by a quartet of charismatic sopranos: Oksana Dyka, Angela Gheorghiu, Maria Guleghina, and Liudmyla Monastyrska. From $25. MetOpera.org
A scene from Puccini’s “Tosca” at the Metropolitan Opera in 2012.
THINGS TO DO COMMUNITY EVENTS ONGOING IN MANHATTAN The Unseen Holocaust: Recent Polish Films Nov. 1 at 2 p.m. Museum of Jewish Heritage 36 Battery Place The fall of communism ushered in a new era of candid and artistically accomplished Polish filmmaking about the Holocaust. This week-long series presents features, documentaries, and short films rarely seen in the United States. Discussions with experts will follow the screenings. $15 public, $12 members. MJHnyc.org
NEW ELSEWHERE Neighborhood Concert: Gilad Hekselman Band Nov. 6 at 7:30 p.m. Bronx Museum of the Arts Israeli guitarist Gilad Hekselman’s lively, fluid sound and skillful improvisation have earned him recognition as a rising star in the New York City jazz scene. Free. BronxMuseum.org NOW Ensemble Nov. 8 at 5 p.m. 80 N. Sixth St., Brooklyn Dynamic composerperformer collective NOW Ensemble’s music straddles the line between contemporary classical and indie rock. With an unusual instrumental lineup of flute, clarinet, electric guitar, bass, and piano, this innovative ensemble is passionate about making 21st-century chamber music and bringing classical music to new audiences. Williamsburg via the G, L, or B62. Free. NationalSawDust.org Stacks: Three Decades of Writing Fellows Nov. 13–Feb. 12, 2016
NYFA Gallery, 20 Jay St., Suite 740, Brooklyn An exhibition of published works from over 100 NYFA Literary Fellows featured within a site-specific installation by Anne Muntges (Fellow in Printmaking/ Drawing/Artists’ Books ‘14). Opening reception on Nov. 13 at 6 p.m. Free. NYFA.org Children's Book Fair Nov. 14, noon–4 p.m. Brooklyn Museum This year's fair features more than thirty-five Brooklynbased authors and illustrators and includes storybooks, picture books, graphic novels, and books for young adults. Free. BrooklynMuseum.org
VISUAL ARTS NEW IN MANHATTAN Masterpieces of Chinese Painting Oct. 31–Oct. 11, 2016 Metropolitan Museum of Art Over the last forty years, the Metropolitan's collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. Replete with masterpieces dating from the Tang dynasty (608– 917) to the present, the collection encompasses the vast historical sweep of the brush arts of China, from serene Buddhist scriptures to bombastic court portraits to lyrical scholars' paintings. This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271– 1368) dynasties. $12–$25 suggested. METMuseum.org
ONGOING IN MANHATTAN Fashion and Virtue: Textile Patterns and the Print Revolution, 1520–1620 Oct. 20–Jan. 10, 2016
Metropolitan Museum of Art Printed sources related to the design of textile patterns first appeared during the Renaissance. Six intricate interlaced designs, attributed to Leonardo da Vinci and later copied by Albrecht Dürer, stood at the beginning of a fruitful international exchange of pattern designs through print. $12–$25 suggested. METMuseum.org Folk City: New York and the Folk Music Revival Through Nov. 29, open daily 10 a.m.–6 p.m. Museum of the City of New York, 1220 Fifth Ave. The multimedia exhibition features original instruments, handwritten lyrics, and video and film footage. "Folk City" traces the roots of the revival, its growth in New York, its major players, and its impact on American politics and culture during the tumultuous 1960s. $3–$14. MCNY.org
ENDING IN MANHATTAN Liturgical Textiles of the Post-Byzantine World Through Nov. 1 Metropolitan Museum of Art Seldom-shown textiles from the fifteenth to the eighteenth century. These rich and complex woven silks and gold-embroidered details of liturgical vestments communicate the continuing prestige of the Orthodox Church and its clergy in the centuries following the fall of Byzantine Constantinople to the Ottoman Turks in 1453. $12–$25 suggested. METMuseum.org Women Pioneers Mexican Photography I Through Nov. 14 Throckmorton Fine Art, 145 E. 57th St., Floor 3 This exhibition presents views of women, myth, and photography intertwined
through nine pioneers who embrace new attitudes for women. Since 1896 through to the present, freedom earned through personal decision and efforts includes the early social risks taken in a still-traditional society. Free. Throckmorton-NYC.com
PERFORMING ARTS NEW IN MANHATTAN Lulu Nov. 5–Dec. 3 Metropolitan Opera 30 Lincoln Center Plaza Acclaimed artist and director William Kentridge (The Nose) applies his unique theatrical vision to Berg’s notorious femme fatale who shatters lives, including her own. Musically, the masterful score is in the sure hands of Met Music Director James Levine. From $27. MetOpera.org Tosca Through Dec. 1 Metropolitan Opera 30 Lincoln Center Plaza The many facets of Puccini’s eternal diva are explored by a quartet of charismatic sopranos: Oksana Dyka, Angela Gheorghiu, Maria Guleghina, and Liudmyla Monastyrska. From $25. MetOpera.org
ENDING IN MANHATTAN Tannhäuser Through Oct. 31 Metropolitan Opera 30 Lincoln Center Plaza History, myth, and invention come together in Tannhäuser to create a unique and powerful drama. James Levine conducts Wagner’s early masterpiece in its first return to the Met stage in more than a decade. From $27. MetOpera.org
NEW ELSEWHERE Tempus Fugit Reprise Oct. 30 at 7 p.m. Brooklyn Center
Whitman Theatre, 2900 Avenue H, Brooklyn Professor Artis Smith and Germaine Salsberg, in collaboration with composition faculty and students-musicians, present Tempus Fugit Reprise, an evening of original choreography to original music inspired by the beauty and majesty of winged creatures—new movement to new sounds as dancers take flight. $30. BrooklynCenter.org Beyond Time Nov 19–Nov 21 BAM Howard Gilman Opera House Pitched gongs, thunderous taiko drums, nomadic chanting, and enlightened laughter score this multidimensional foray into temporal transcendence from Taiwan’s U-Theatre. From $20. BAM.org
MUSIC NEW IN MANHATTAN Sir András Schiff Oct. 30 at 8 p.m. Stern Auditorium at Carnegie Hall Sir András Schiff explores the sonatas of four AustroGerman masters and how each viewed music at the end of their respective lives. Haydn's and Mozart’s late sonatas brought new expressiveness and technical virtuosity to the form, while Beethoven’s final sonata opens with a storm and closes with a breathlessly beautiful and spiritually comforting Arietta. $19.50– $117. CarnegieHall.org Mozart and Beethoven Oct. 30–31 David Geffen Hall The Philharmonic performs perhaps one of classical music’s most famous utterances: Beethoven’s Fifth Symphony. “I shall seize Fate by the throat; it shall not bend or crush me completely,” Beethoven once wrote, and you can practically hear him say it. Plus Mozart’s Piano Concerto No. 23—with its sunny opening (we can’t
help but smile) and sublime Adagio—starring Artist-inAssociation Inon Barnatan. $30–138. NYPhil.org Schumann, Strauss, & Brahms Oct. 30 at 7:30 p.m. Alice Tully Hall Indulge in the lush sounds of the German romantics, starting with Schumann's deeply personal Fantasy Pieces. Strauss' early piano quartet melds the grandeur of Brahms' influence with his own youthful energy. The program concludes with Brahms' C major Piano Trio, written at the peak of his creative powers. From $30. ChamberMusicSociety.org Ingrid Andsnes Nov. 2 at 8 p.m. Weill Recital Hall at Carnegie Hall Norwegian pianist Ingrid Andsnes performs Beethoven’s Diabelli Variations, Op. 120, a masterwork for solo piano. Also on the program is Norwegian contemporary composer Lars Petter Hagen’s Diabelli Cadenza, a comment on Beethoven’s work from the 21st century. Free but limited. CarnegieHall.org Israel Philharmonic Orchestra Nov. 5 at 7 p.m. Stern Auditorium at Carnegie Hall Bringing a message of peace through music, the Israel Philharmonic Orchestra, joined by Music Director for Life Zubin Mehta, returns to Carnegie Hall to kick off an eight-city tour. Maestro Mehta leads the orchestra in a performance of Mahler’s Symphony No. 2 in C Minor, “Resurrection,” with soprano Kristin Lewis, mezzosoprano Michelle DeYoung, and MasterVoices (formerly The Collegiate Chorale). $21–$137. CarnegieHall.org
Dear Readers If you have an event to suggest, please send details to NYC_Arts@ EpochTimes.com in the format you see here.
C7
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts METRO-GOLDWYN-MAYER PICTURES/WARNER BROS. PICTURES/NEW LINE CINEMA
Next on the Big Screen: November 2015
Sylvester Stallone (back) as Rocky Balboa and Michael B. Jordan (C) as Adonis Johnson in “Creed,” a Warner Bros. Pictures release. art could not have done a better job in skewing the extreme right wing, a faction responsible for making even the current Congress a laughing stock among people who think.
By Mark Jackson | Epoch Times Staff
Nov. 13
The Epoch Times film critic sifts through the 60–70 film offerings of November 2015, and picks five. The choices are based on which movies will have the most visibility and potential to impact culture, especially (but not always) in a positive way, and collates some critique excerpts from fellow reviewers from other news publications.
Nov. 6
‘Spectre’
PG-13 | 148 min | Action, Adventure, Thriller James Bond peels the layers of deception off a deadly organization, while M fights to keep Her Majesty’s Secret Service alive. Adam Woodward Writes for: Little White Lies In many ways “Spectre” is the purest Bond experience of the Craig era. Stylistically, it’s a film that looks and feels like a modern action movie—clearly no expense was spared in executing the pulse-quickening aerial stunts and seat-shaking set-piece pyrotechnics that break up the shaggy plot. For all that, the 24th installment in the franchise is unavoidably a 21st century spectacle, however, narratively speaking it is underpinned by a reluctance to break from tradition. Jamie Healy Writes for: Radio Times For all its flaws, overreaching ambition, and excessive running time, this is a prestige picture on a huge scale. You get literally more bang for your buck than any other movie. You can feel the quality in the supercar chase through Rome, in the high-speed pursuit by boat down the Thames, and as Bond indulges in an alpine game of chicken, played out with a plane and a convoy of SUVs.
‘Spotlight’
R | 128 min | Biography, Drama, History “Spotlight” is the true story of how the Boston Globe exposed the horrendous child molestation scandal and cover-up within Boston’s Catholic archdiocese, which turned out to be like pulling a strand of yarn on a sweater,
‘The 33’
PG-13 | 120 min | Drama True story. A gold and copper mine collapses, trapping 33 miners underground for 69 days. unraveling secrets of the entire Catholic Church. Clayton Davis Writes for: AwardsCircuit.com Seconds after the credits for Tom McCarthy’s “Spotlight” roll, an overwhelming feeling of changing your career takes over. Is film criticism really where I belong? What important, life-changing story am I not writing about? Truth is, quite a number of classic films give off that same feeling. “Rocky” made a bunch of our fathers and older brothers go for a morning run and drink raw eggs. “Rudy” made us want to go out and play Notre Dame football. “Spotlight” makes you want to go down to your local courthouse and search the public records for clues. Then, get on the phone, with a pen and a pad, and start asking some really tough questions. Honestly speaking, “Spotlight” is the best investigative news drama this century. Matter of fact, behind “All the President’s Men” and maybe “The Insider,” it’s among the best ever made. Kenneth R. Morefield Writes for: Christianity Today My biggest fear going into “Spotlight,” the historical drama, which re-enacts the Boston Globe’s exposé of clergy sex abuse in the Roman Catholic Church, was that auteur Tom McCarthy would find some way—probably through lionizing the journalists—to recast this horrific chapter of our history into a feelgood story. In America, we don’t mind movies that ask us to pity victims. But we sure seem to hate anyone or anything that asks us not to feel quite so good about ourselves. I had nothing to worry about. If anything, Walter Robinson’s (Michael Keaton) biggest epiphany is a bit of a Schindler moment: Why didn’t I do more? As Robinson and his team of investigative reporters act as our surrogates, they don’t lead us into
Film Review
Sandra Bullock’s Political Puppet Master Showcases Her Full Range By Mark Jackson | Epoch Times Staff “Our Brand Is Crisis”: a movie of note in this political jousting time of The Donald versus everybody else. It’s a good reminder of the behindthe-scene chess matches of professional political handlers, spin doctors, and puppet masters. Campaigns are showbiz, Oz the Great and Terrible, hair and makeup. All that glitters is not gold, but sometimes all hair and makeup is distinctly orange-tinted. As we’ve seen—that can give you an edge in the polls. Makes you want to be a fly on the wall in some of the current candidate-prepping sessions. Expect to see more orange hair in future presidential campaigns. “Crisis” features a rock-solid Sandra Bullock performance, utilizing both her clown-level comedic talent, as well as her dramatic gravitas, and while the goings-on are soul-damage-level cynical, she anchors the movie in the idea that ultimately human beings have a trueNorth of hope and human-kindness. True Story Based on a 2005 documentary by Rachel Boynton, Bullock plays “Calamity” Jane Bodine, a clean and sober, six-years-making-potteryin-her-mountain-shack, former campaign strategist, who comes out of retirement for a high-noon showdown with her erstwhile ultra-unctuous nemesis, Pat Candy (Billy Bob Thornton). But not in the United States, no, they have— in the immortal words of Mike Tyson—“faded into Bolivian.” The Bolivian presidential election, that is. Down Bolivia way, one Castillo (Joaquim de Almeida) has fallen far behind front-runner candidate Rivera (Louis Arcella), so Castillo’s bought himself some hotshot American spin docs. In addition to “Calamity” Jane, the rest of the consulting group consists of Washington-connected Nell (Ann Dowd), former “Free Tibet” do-gooder spin doc, Ben (Anthony Mackie), director of campaign commercials, Rich (Scoot
the temptation of self-righteous hindsight, nor do they deliver us from realizing that we’re complicit in our silence. “Spotlight” is a serious film, both artistically and morally, and it wrestles with explosive content while never feeling exploitative or self-aggrandizing.
‘Trumbo’
R | 124 min | Biography, Drama The year was 1947, and Dalton Trumbo was Hollywood’s top screenwriter. Then he and fellow writers were blacklisted for their political beliefs and thrown in jail. Harvey Karten Writes for: ShowBiz The House Un-American Activities Committee was active during the ‘40s until 1975. Its purpose was to root out American Communists, particularly in the showbiz industry, to subpoena them and, if they refused to testify or abstained from naming names implicating their fellows, they could be blacklisted. Blacklisted screenwriters and actors could not get a job anywhere if they were on the blacklist, so fearful witnesses might do what the committee wanted, cowards that they were ... The actors who performed in various roles as Trumbo’s friends, family, and employers generally look like the people they portray. Bryan Cranston, best known as Walter White on the AMC drama “Breaking Bad,” takes on the title role with his Salvador Dali mustache and wide-framed glasses. He is not a choice made because of his name and popularity, but his selection as Dalton Trumbo has been most wise ... This is really a terrific movie, and what’s more to its credit, it’s about a screenwriter. Screenwriting often makes or breaks a movie, yet those who use the typewriter rather than a megaphone are often neglected ... You don’t want to miss this film. Jon Stew-
Wendy Ide Writes for: Screen International The combination of human interest and a sprinkling of star power—Antonio Banderas plays “Super Mario,” the unofficial leader of the trapped diggers; Juliette Binoche is unlikely casting as a feisty empanada saleswoman—should generate interest in this feelgood tale of survival against the odds. However, the claustrophobic prospect of spending over two hours 2,300 feet underground with a bunch of sweaty men might make this a tough marketing prospect ... Accompanied by a score, which goes big on South American flutes and guitars, photogenic peasants hold candles aloft. There are lots of man-hugs and macho tears. It’s as though Riggen directs from a checklist of proven emotive shots. However there is no question that this is an extraordinary tale of human fortitude and resilience: at least some of the tears that will be shed in the film will be honestly earned.”
Nov. 25
‘Creed’
132 min | Drama, Sport Rocky Balboa, former World Heavyweight Champion of the world, trains Adonis Johnson, none other than the son of Rocky’s late former opponent, Apollo Creed. (No critic reviews available yet) It’s the seventh Rocky film! Adonis Johnson’s dad, Apollo Creed, died before he was born. But the apple didn’t fall far from the tree. Johnson goes to Philly, where dad first fought Rocky Balboa, in a legendary match. Rocky sees Apollo’s qualities in his son, and becomes his mentor. Can’t go too wrong here on the entertainment level. And there needs to be more mentoring in the world today.
WARNER BROS. ENTERTAINMENT INC./RATPAC-DUNE ENTERTAINMENT LLC
‘Our Brand Is Crisis’ Director David Gordon Green Starring Sandra Bullock, Billy Bob Thornton, Anthony Mackie, Joaquim de Almeida, Ann Dowd, Scoot McNairy, Zoe Kazan
McNairy), and whiz kid LeBlanc (Zoe Kazan) who Jane brings on to dig into the oppositions’ backgrounds like a class valedictorian, freshfaced tapeworm. Rolling Up Sleeves Jane’s wiped out by jet lag and in need of an oxygen tank to deal with the elevation of La Paz, Bolivia, but she eventually re-energizes for a little scenery-chewing. She’s nicknamed “Calamity,” after all. Billy Bob’s character throws the first punch by having someone publicly egg Castillo, causing a punch-down ruckus, which Jane brilliantly spins into Castillo being a no-nonsense, manly-man fighter. And what does a manly fighter need? A cause to fight! Therefore Bolivia must be in … some kind of crisis? We’re never sure which crisis that might be, and neither, probably, are the good people of Bolivia. But it gives this “fighter” (read: short-tempered, self-centered, lying, predatory politician) Castillo, something to, you know, fight for the people for. Will they succeed in spinning Castillo to victory? Will Jane’s manic-depressiveness derail her, especially when Thornton’s Pat Candy reminds her of the fatal consequences her previously all-or-none level commitment to winning had, which was why she gave up the political life and moved to mountain seclusion? All in All The movie is enjoyably fast-paced, but never quite fever-pitch, edge-of-your-seat engaging. The cinematography captures a lot of white, as in the lighting of places of high elevation, which adds a certain coldness to the proceedings. All performances are satisfactory, although, given the subject matter, it’s hard to care for any of the characters, with the exception of Bullock, and the character of Eddie (Reynaldo Pacheco), a star-struck young teen overcome with idealism and awe for candidate Castillo, whose trust and fealty is dashed
Running Time 1 hour, 47 minutes Release Date Oct. 30 Rated R
(L–R) Scoot McNairy as Buckley, Sandra Bullock as Jane, and Joaquim de Almeida as Castillo in “Our Brand Is Crisis.” in a truly heartbreaking manner. Turning Over the Rock “Crisis” is similar to the currently playing “Sicario” in that it offers a chance to look at the dirty tricks, morally grey areas, and the rationalizing of how ethically ambiguous means might appear to justify the end, delivering a “greater good.” The generation of good governing in politics always contains the mutual inhibition of corruption; elections can be bought, and those willing to say anything to get elected, once in office, can betray the electorate. We know all this. What “Crisis” does, and more importantly, what Sandra Bullock does, is show us the toll that all this betrayal of the truth can have on an individual, and even better, through her character arc, reveals the evolving, up out of the pit of cynicism, that her sobriety and mountain retreat ultimately bring to bear. Her Brand Is Funny Bullock gets to show her full range. Her brand is still funny (if somewhat muted here); it’s why we always like her, still, at the “advanced” age of 51, when Hollywood becomes a place where
older actresses go to die. Bullock’s exceptionally likeable. You never don’t like Sandra Bullock, similar to that other, interminably funny actress who’s got a dramatic range that is also now starting to get tapped: Jennifer Aniston. Interesting that the two of them are both former Waldorf School (Rudolf Steiner school) students. Bullock may have intentionally left a clue to that heritage here, dropping the word “choleric” into a conversation, which refers to one of the four human temperaments that are utilized as a teaching tool in Waldorf schools (also a thespian character-research tool in England’s acting tradition). You hear “melancholic” said in movies, but rarely choleric. Bullock’s one of our top actresses. Comedy is undervalued, but the fact is, actors who play funny well generally do all of it well. It’s just that once the branding sets in, that’s all we want to see from them. That’s the product, and we don’t want our Cheerios and Rice Krispies turning into beet greens anytime soon. For beet greens we can go to, say, Julianna Margulies, or Anna Paquin (both of whom are also former Waldorf students). From here on in, let Sandra Bullock’s full smorgasbord range out.
C8
@EpochArts
October 30–November 5, 2015 TheEpochTimes.com/EpochArts
ALL PHOTOS BY BENJAMIN CHASTEEN/EPOCH TIMES
The Essence of
Traditional Korean Music in the 21st Century Kayageum virtuoso, TeRra Han’s performance at Carnegie Hall
TeRra Han plays the kayageum, a traditional Korean 12-string zither, at Carnegie Hall in New York on Sept. 29. TeRra Han in New York on Sept. 30.
By Milene Fernandez | Epoch Times Staff
N
EW YORK—Hundreds of years ago we probably had better ears. Without the noises of an industrialized, mechanical, digital world, we were probably more attentive too. Tree leaves rustling in the wind, spring water weaving around rocks, birds singing. The sounds and rhythms of nature permeated daily life. Nature overall influenced musicians and their compositions. The kayageum, a Korean zither-like instrument, was loud enough to fill a small recital hall, even with its 12 strings made of silk. To hear such an instrument in the 21st century is rare. It was therefore an exquisite treat to listen to the kayageum virtuoso TeRra Han perform authentic Korean sanjo classical music at the Weill Recital Hall at Carnegie Hall on Sept. 29—without any microphones. And yes, the strings of her kayageum, like the beautiful traditional Korean dress that she designed and wore to complement the music, were indeed made out of silk. “It was amazing, the acoustics, the sound of the space was really nice,” Han said during an interview at Big Apple Studios on the afternoon after her first performance at Carnegie Hall. A child prodigy, she started playing the piano when she was 5 years old and started performing the kayageum when she was 8. Now 34, she is considered one of the most outstanding kayageum musicians in Korea. With her traditional Korean dress, her perfectly made up face, and demure appearance on stage, Han seemed like a work of art of ancient times that had come to life. “If I wear a costume that is balanced well with the music, I can play better,” she said. But TeRra—who’s name roughly translates as “great things coming to earth”—wants her music to be relevant today. “I think this music is really needed in this period,” she said, revealing the fortitude she has had to have in order to maintain a musical tradition that may seem out of place at a time of busy lifestyles, information overload, and instant access to things—at a time when easy distraction replaces the ability to listen well. “I want to make the world more beautiful with my music,” she said. Trained in both Western and Asian music, she can play Mozart and even jazz, and can play several instruments, including the Chinese guqin, the Japanese koto, and the Indian sitar. Yet, some of her Korean musician friends, who have collaborated with her on contemporary pieces, remind her to continue playing and treasuring traditional Korean music. Otherwise it could be forgotten.
I don’t want my music to just exist as if in a museum. I want to share my music with all people.
TeRa Han, kayageum musician.
WATCH A VIDEO of TeRa Han playing the kayageum at ept. ms/KoreanZither
“I don’t want my music to just exist as if in a museum. I want to share my music with all people,” she said. Her goal is to find her audience. “I have to think about when, where, and to whom I should play this music. … I have to open my mind and share my music,” she said. It’s not easy to understand traditional Korean music, especially for a Western audience. “I was a little worried if I could reach the audience, but it was nice,” she said. Bridging East and West, Reconciling Past and Present Similar to the sonata, sanjo is considered the most representative style of Korean traditional music from the 19th century. UNESCO proclaimed it as a masterpiece of the oral and intangible heritage of Korea. Han played the full version of a kayageum sanjo in the style of the Choi Ok Sam master to celebrate the 120th anniversary of that well-respected school. The entire folk piece is about the life of Choi Ok Sam, a farmer who was also a musician. According to custom, Han was accompanied by a janggu (Korean drum) player, who occasionally would sing one-vowel words of encouragement—something like, “oh good,” or “very nice.” Han explained that it encourages the soloist to continue playing more. “That’s one important element of this music,” she said. The nearly one hour piece begins slowly, with plucking that seemed rather random to ears accustomed to Western concert music. The janggu drummer, Sumin Cho would strum and strike simultaneously, also at seemingly random times. Cho’s left hand would tap lightly, correlated with the moon and yin energy while her right hand would strike with unmistakable determination, correlated with solar or yang energy, Han explained. The rhythm of the entire piece increased so gradually that its buildup to an incredibly rapid galloping pace was surprisingly perceptible only when the piece was almost over. Any theme or melody that would start to form would suddenly take a completely unexpected turn, without any clear resolutions or predictable transitions until the end. Han assured, “In Korean music and arts, we make the conclusion at the end,” meaning that the main point of the piece is not revealed until the end, unlike in some Western music, which introduces the main theme of a piece at the beginning. Han considers the music, especially in the beginning at a slow tempo, as a kind of meditation. She counts the rhythm throughout the piece and also focuses on the mood of the music. “This music is actually very strong and
sad music emotionally,” she said and then mentioned the tough history of Korea and how women were generally sad and lonely while their husbands fought in wars. The full version of “Choi Ok Sam: Kayageum Sanjo” that she played unfolded similarly to how thoughts come and go, either developing into a narrative or quickly being replaced by the next thoughts. As the music took surprising turns, letting go of expectations, it’s melodies and rhythmical motifs began to sink in beautifully. From Master to Student Originally the kayageum sanjo was played as improvisation by a kayageum master. Han explained the piece does not have a score, but was memorized from the teacher’s playing. The student would then gradually add his or her own artistry and improvisation. In the most traditional way, the kayageum sanjo, while maintaining its eight rhythmical patterns, is never played the same way twice. The way each musician interprets the music is completely different—a section played very loudly by one musician may be played very quietly by another. Han’s artistry and dexterity playing the kayageum is more than impressive, especially evident in how she maintains her peaceful demeanor even while pressing down hard on the strings to create vibrato. “In some parts my fingers are moving by themselves,” she said. Although the unique timbre of the kayageum instrument, with its silk strings is rather quiet, Han said, “Actually this music is very powerful.” In traditional Asian music, there’s not so much emphasis on the dynamics (loudness, from pianissimo to forte) but on energy, or what the Chinese call “qi,” she explained. “We think energy is very important. … The beginner student of music actually cannot make energy; they just pluck strings. But as they practice more and more, they make their own energy and become great musicians,” Han said. It is all about how to create and balance energy with great skill. Also what she called “substance” is very important. “We [Korean artists] have our own substance, also American and European artist they have their own substance. But finally we can share together; we can recognize each has their own unique beauty,” Han said. In April and May 2016, Han will tour to celebrate the 130th anniversary of relations between France and Korea, performing in Seoul, Tokyo, Paris, and New York. She will also do some recording and perform solo recitals in Tokyo and the United States during the 2016 fall–winter season.