The Grandeur of Hellenistic Art O N S H O W A T T H E M E T
Three centuries between Alexander and Cleopatra captured in metal and stone.
Marble statue of a youth, Greek, early first century B.C., from the Antikythera shipwreck.
By Kati Vereshaka | Epoch Times Staff
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EW YORK—The ancient city of Pergamon was discovered in the 1860s by German engineer Carl Humann. He was doing land surveys for railroad construction, when he noticed that residents were burning fragments of an ancient marble sculpture to make lime. It was the birth of an archaeological project that, over the past 138 years, has unearthed the remains of the city’s most important architectural components.
Some of the most evocative works in show are copies of Greek works made in the early Roman Imperial period.
Now known as Bergama in Turkey, Pergamon was the capital of the Attalid Dynasty (281–133 B.C.) that ruled over large parts of Asia Minor. Perched on a hill, the city’s ruins stand as a testament to a great kingdom and culture—just one among the many Hellenistic kingdoms left behind by Alexander the Great’s conquests. But its treasures, or at least some of them, are now displayed in all their glory at the Metropolitan Museum of Art as part of a new exhibition titled Pergamon and the Hellenistic Kingdoms of the Ancient World. It is the first major international loan exhibition in the United States that spans the entire Hellenistic period, from the death of Alexander the Great in 323 B.C., to the death of Cleopatra in 30 B.C.
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Demystifying the Opera
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F. Paul Driscoll of OPERA NEWS on the thrill of a timeless art form
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By Milene Fernandez | Epoch Times Staff EW YORK—Opera may not be for everybody. It’s clearly artificial. No one would ever be fooled into thinking that it’s realistic, but the emotions have to be charged and the stakes have to be high, the editorin-chief of OPERA NEWS, F. Paul Driscoll explained. “I do think that most people who say they don’t like it, haven’t really experienced it. Opera is like frogs legs. People have an opinion about it whether or not they have tasted it,” Driscoll said in his office at Lincoln Center. Driscoll talked eloquently relaying a treasure trove of encyclopedic references, factoids, insights, and witty remarks about opera— too many to mention here. But essentially, he
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and Diane Silberstein, the publisher of OPERA NEWS, talked about how the magazine—especially with its latest breezy redesign—wants to demystify the opera. As the central hub of all operatic paths for the past 80 years since it was founded, OPERA NEWS is well positioned to help dissolve any notions getting in the way of people feeling welcomed to the opera. If the opera is in a language that you do not understand, every seat provides subtitles; and if you read the libretto ahead of time, those beautiful voices and powerful music will transport you. No worries if you can only afford a $30 balcony seat instead of a $300 orchestra seat, it’s more about what you hear than what you see, and you can always use binoculars; and never mind that you may not know what to wear, it’s not a fashion show anyway. If you feel uncomfortable being surrounded by a mostly grey-white haired crowd, remember we are all aging. You can start developing your taste for an art form that will keep you interested for the rest of your life. In the meantime, The Metropolitan Opera, for example, has designated special nights for audiences under 40. If you find the opera houses intimidating, you can always go to a production of a smaller, more adventurous opera company, like The Industry. It performed its new opera in 24 cars, literally transporting the audience around Los Angeles to site-specific scenes of “Hopscotch,” receiving rave reviews. Venture Opera on the Lower East Side of Manhattan opens the floor for dance parties after its performances. It’s just 1 of 73 pop up or alternative opera companies in the United States and of 988 worldwide, according to Sil-
F. Paul Driscoll, editor-inchief of OPERA NEWS, at his office in Lincoln Center, Manhattan, on March 21.
OPER A NEW
OPERA NEWS “25 Rising Stars” cover, October 2015 (post-redesign).
berstein. And there’s always opera streaming live on the Internet in high definition, although not as enthralling as live performances.
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Powerful Timeless Storytelling Driscoll stumbled upon opera in 1969, in what he called the dark ages, (tongue-in-cheek), when a friend invited him to a dress rehearsal of “Tosca” at The Metropolitan Opera. As a teenager at that time, he did not take it in “at any level of sophistication,” he said, but it cracked open a door that was later kicked in to a world that he obviously now loves. His piercing blue eyes lit up when he recalled Mozart’s, “Le Nozze di Figaro” (The Marriage of Figaro). “The count has been horrible to his wife. We’ve all experienced a dysfunctional relationship, either as participants or as observers. In the last act, the count pleads to the countess ‘Will you forgive me,’ and then there’s a pause. For hundreds of years, audiences have listened to that pause not knowing what she’s going to say. That moment still works after 200 years. I think it’s worth experiencing,” Driscoll said. Talking about Puccini’s opera, “Tosca,” Driscoll said that “the idea that people believe in something enough to die for it, that what you choose to believe in transcends any kind of relationship or political strife,” continues to leave an impact on him whenever he sees that opera. “I enjoy Tosca very much. It’s incredibly well constructed, and I love the way it works,” he said. Opera exalts all the elements of theatrical
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Lively ‘Abduction From the Seraglio’ Back at the Met Opera Review
Mother’s Day Special
By Barry Bassis Mozart’s “Die Entführung aus dem Serail” (“Abduction From the Seraglio”) is being revived at the Metropolitan Opera under the able conducting of James Levine. The ovations at the start of each act were an expression of appreciation for his long service as the Met’s music director. He is also credited with bringing this opera back in the company’s repertoire, since it was not performed at the Met from 1946 until 1979. This is a singspiel opera, meaning that there is spoken German dialogue between the musical numbers. The subject is one that was common in the late 18th century: Western women in Turkish captivity. Though there are references in the libretto to torture, forced sex, and other atrocities, the tone is comic and the score is captivating, with comic arias as well as those revealing a depth of feeling. When the opera begins in Turkey, Konstanze, a Spanish woman; Blondchen, her English maid; and Pedrillo, the servant of Konstanze’s fiancé, Belmonte, are prisoners. They had been captured
The vocal standout of the cast is Albina Shagimuratova’s Konstanze.
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production—bringing it all up a notch. It’s not only the intensity of the voices, but also the magnified acting and drama that makes it so humanly engaging. Although at first it may all seem exaggerated, so over the top, and perhaps overwhelming, the fact that every aspect of human experience is played out on the stage in such an artificial way is perhaps the key to its cathartic effect. It allows the audience to experience a massive emotional release, somewhat vicariously through the opera singers, in a more subdued and civil way. Tremendous Skill Opera literally means “work” in Italian. While sharing all of the basic elements of musical theater, opera singers do not use microphones. “If you think about what would be required if you had to make yourself heard to someone who is 12 rooms away. Just projecting your voice to communicate one sentence would require a great deal of physical effort,” Driscoll said. The singers, like athletes, use their entire bodies as instruments to amplify every conceivable emotion, to tell stories of every convoluted or simplified folly or victory that could possibly happen in life. Driscoll saw the young Mexican tenor, Javier Camarena perform the role of Ernesto in Donizetti’s “Don Pasquale” at the Metropolitan Opera in March. “He has a voice that you can hear in Queens when he sings. People went nuts! They
DARIO ACOSTA
went berserk because the idea that this one man has a voice, which can communicate human emotion in a room that holds 4,000 people and get them all on the same page is thrilling,” Driscoll said. Honoring Opera Greats OPERA NEWS held its 11th annual awards ceremony on April 10, at The Plaza honoring opera singers at different stages of their careers: José van Dam, Waltraud Meier, Joseph Calleja, Anna Netrebko, and Elina Garanca. At a cocktail reception before the awards, three of them generously shared their thoughts about their art. “At the very moment when I go on stage, I give everything from my life experience that I have had at that very moment. Opera provides a sensation that no other art form can provide. It is theater, scenography, lights, costumes, it’s acting, music and voice, there’s nothing else that gets so close,” mezzo-soprano Elina Garanca said warmly. Mezzo-soprano, Waltraud Meier’s generous demeanor was also immediately noticeable. “In the best way, opera will bring something out of you—an emotion, a feeling, a thought—that you would have never expected was in you. You live through something for a moment that is beyond reality. It is a reality that later on you can connect it again and again to your own reality, but for a little moment it opens a door to something that goes beyond expectations,” Meier said. Meier encouraged young people to experi-
KEN HOWARD/METROPOLITAN OPERA
ence the opera. “Just go in there. … We have to invite them to have the courage to just say, ‘Hey, let yourself get into that, just feel it,” she said smiling. “Today, life is strange all over the world. People are coming to the opera to experience beautiful things and to dream a little dream, and we need this. I think this is the most important thing in opera today,” said José van Dam, the bass-baritone who has been singing for 50 years. “This Is New York” is a feature series that delves into the lives of inspiring individuals in New York City. See all our TINYs here: epochtim.es/TINY or follow @milenefernandez on Twitter.
‘Die Entführung aus dem Serail’ Metropolitan Opera House 30 Lincoln Center Plaza Tickets 212-362-6000, or MetOpera.org Running Time 3 hours, 19 minutes
by pirates and sold to Pasha Selim. Blondchen has been given to his overseer Osmin by the pasha, but the maid rejects his advances, just as Konstanze refuses the pasha’s expressions of love. Belmonte arrives in the hopes of managing the escape of his beloved. He runs into Osmin but makes the mistake of mentioning Pedrillo, who is serving as gardener but whom Osmin knows is his rival for Blondchen’s affections. Pedrillo later encounters Belmonte and they come up with a plan to escape with the women. In a scene involving Konstanze and the pasha, she again turns him down, explaining that she is still in love with her fiancé. Though Pasha Selim erupts at one point, threatening to use force, he relents. The wily Pedrillo introduces Belmonte as a talented architect to the pasha. Act 2 starts with Blondchen putting Osmin in his place after he threatens her, telling him
that European women expect to be treated well. Pedrillo tells Blondchen of the escape plan, which involves getting Osmin drunk so that the lovers can get away. Pedrillo doesn’t have much trouble convincing the overseer to violate his religion by drinking wine. In the third act, Belmonte places a ladder leading to the women’s window and serenades them (the signal for the escape). Unfortunately, Osmin wakes up and foils the plot, bringing the four lovers before the pasha. Belmonte tries to bargain with the pasha by promising a ransom from his rich family, the Lostados. Selim reveals that Belmonte’s father is his mortal enemy, who was responsible for the pasha’s exile from his native country. He asks the young man what his father would do if the situation were reversed. Belmonte answers that Selim’s son would expect the worst. The humane pasha then announces that he
Closes May 7
KEN HOWARD/METROPOLITAN OPERA
Albina Shagimuratova as Konstanze in Mozart’s “Die Entführung aus dem Serail.”
Kathleen Kim as Blondchen in Mozart’s “Die Entführung aus dem Serail.”
(Top) A scene from Puccini’s “Turandot” at The Metropolitan Opera. (Bottom) (L–R) Publisher of OPERA NEWS Diane Silberstein, honorees José van Dam, Waltraud Meier, Anna Netrebko, Elina Garanca, Joseph Calleja, and Editorin-Chief of OPERA NEWS F. Paul Driscoll at the 11th Annual OPERA NEWS Awards in New York on April 10.
will do the opposite of what is expected and frees the lovers to return to their homeland. Would any Hollywood movie nowadays end with such a twist? The two sets of lovers are written for two coloratura sopranos and two tenors. Osmin is a bass and the pasha is a non-singing role. The Production As the feisty Blondchen, Kathleen Kim is ideally cast. Her singing is lovely, her acting quite funny, and the production exploits the physical contrast between the petite soprano and the immense bass playing Osmin, HansPeter König, whose singing is also a pleasure. As Belmonte, Paul Appleby revealed himself to be an ideal Mozart tenor. And his Pedrillo, Brenton Ryan (also an American tenor), is making a confident Met debut. The vocal standout of the cast is Albina Shagimuratova’s Konstanze, who has the most memorable music and makes the most of it. The only disappointment is the bland performance of Matthias von Stegmann in the non-singing role of Pasha Selim. Though his character goes through a variety of emotions, from expressions of love to threats of torture, the actor was successful in conveying the pasha’s humanity but none of the extremes. The 1979, John Dexter production holds up quite well. Stage director Stephen Pickover deserves credit for the humorous touches. Barry Bassis has been a music, theater, and travel writer for over a decade for various publications.
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The Grandeur of Hellenistic Art O N
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Hellenistic Art continued from C1 Gold and silver jewelry and artifacts, luxury glassware, as well as marble and bronze sculptures are among the works showcasing the kind of innovations and technical mastery that came about through the robust patronage of the royal courts throughout Hellenistic kingdoms.
from us in time and style, it would have been an enviable and sophisticated society to live in. A cultural and commercial hub, the city’s eponymous library was renowned as second only to the Library of Alexandria. The Attalids fostered the arts and sciences, allowing Greek cities to maintain nominal independence and looked to Athens for architectural inspiration. Case in point is the Acropolis of Pergamon, which was remodeled after the Acropolis in Athens.
One will also come face to face with imposing Roman marble copies of Aristotle, and a surly and elderly Homer.
“Baker Dancer,” Greek, thirdsecond century B.C. The Metropolitan Museum of Art.
SMB/ANTIKENSAMMLUNG
Athena—Goddess of Knowledge and the Arts The largest sculpture in the show—the monumental statue of Athena Parthenos (goddess of knowledge and the arts), once stood in the great library at Pergamon and is a 1/3 replica of the gold and ivory statue of Athena on the Athenian Acropolis by renowned Greek classical sculptor Phidias. None of Phidias’s works survive, so this is as close as we can get to his style. The sculpture of Athena on the Athenian Acropolis was one of the two sculptures by Phidias (the other being of Zeus at Olympia), which impacted all subsequent sculptural depictions of Athena and Zeus and gained Phidias unprecedented fame throughout the Hellenistic kingdoms as well as the Roman Empire afterward. “We are so accustomed to speaking of Greek versus Roman art that it is difficult to fully comprehend the concept of a fusion of Greek and Roman art into a Hellenistic common language—a common language centered in Rome during the first century B.C.,” said Picón. “And pivotal to this theme is the vast
THE METROPOLITAN MUSEUM OF ART
Grandeur In his opening remarks, exhibition organizer Carlos A. Picón admitted that it would be nearly impossible to represent, in their entirety, all the major Hellenistic kingdoms from Ptolemaic Egypt, Macedonia, the Seleucid territory to Bactria and India, as well as Bithynia and Pontus. Impossible as well as redundant, given that Hellenistc art often transcends regional classifications anyway. With more than 260 artworks from more than 50 lenders in 12 countries, the exhibition represents “a monumental undertaking”, according to Picón. A vivid computer generated panoramic image shows how Pergamon, arguably the most well known of Hellenistic capitals, would have looked in 129 A.D. The image depicts the city on a sunny day with the hustle and bustle of its streets, the grandeur of its many palaces, and the huge amphitheater steadily filling up with spectators in anticipation of an upcoming performance. It adds another lively element to the exhibition, driving home the realization that, while we think of the ancients as far removed
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Statue of Athena Parthenos, Greek, circa 170 B.C.
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Rating of A+
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April 29–May 5, 2016 TheEpochTimes.com/EpochArts Gilded silver medallion with head of a centaur or Silenus, Greek, 200–150 B.C.
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amount of Greek art collected by the Romans.” Displayed together for the first time in the exhibition is also an array of Greek sculptures and other luxury artwork from two ancient shipwrecks—the Antikythera (shipwrecked in Greek waters), and the Mahdia (off the Tunisian coast). Among
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the works found are both originals and ancient copies that were being supplied to the West as early as the first century B.C. A group of glass bowls from the Antikythera is stunning in many ways, not least being the fact that the bowls are timeless in their elegance, representing impressive glassworking techniques even by today’s standards. Rome’s Appetite for All Things Greek The exhibition comprises many works from the Late Hellenistic and Roman Imperial period that demonstrate Rome’s appetite for all things Greek. Greek teachers tutored the children of the Roman upper classes, Greek philosophers were invited as house guests and when Roman generals paraded requisitioned sculptures from conquered cities before their fellow countrymen, Romans
began collecting Greek art so as to display it in their homes too. The demand for Greek art grew to the point where Greek craftsmen started migrating to Rome to work. Some of the most evocative works on show are copies of Greek works made in the early Roman Imperial period. Noteworthy examples are the marble sculpture of a kneeling Persian Roman, as well as the dying Gaul—both Roman, copies of Greek bronze statues dated from the Imperial period, early second century. One will also come face to face with imposing Roman marble copies of Aristotle, and a surly and elderly Homer. The works manage to retain some of the un-idealized features of the great men themselves. The Dancer But what stands among the grand marble sculptures and exquisite jewelry is perhaps the most spellbinding work of the whole show—the Greek bronze statuette of a veiled and masked dancer (the “Baker Dancer”) dated from the Hellenistic period, third– second century B.C. and said to be from Alexandria. Wrapped up in her garments and veils, through her twisting motion, is the
whole history of great art, past, present, and future. She is elegance, mystery, and rhythm personified—simplicity and endless complexity all in one. One glance at her, and it is obvious why Greek sculptors were in such great demand. The collection of seminal works on display has an unsurpassed beauty and refinement. It is easy to see why classical art has been emulated during all the subsequent centuries to this day. Rhyton in Yes, there is a subjective the form of element to viewa centaur, ing art. However, Greek, circa time continues to 160 B.C. sift the great from The Metthe rest. ropolitan Museum of Pergamon Art. and the Hellenistic Kingdoms of the Ancient World is showing through to July 17, 2016.
Family Ties That Bind or Strangle
NICK STOKES
Cort Theatre 138 W. 48th St. Tickets: 212-239-6200, or Telecharge.com Running Time: 2 hours, 30 minutes (one intermission) Open run
By Judd Hollander NEW YORK—There’s warmth and anguish aplenty in the new Broadway musical “Bright Star,” a tale about the bonds of family—for good and for bad. With music, book, and story by Steve Martin, and music, lyrics, and story by Edie Brickell, this sentimental and often heartbreaking offering is now at the Cort Theatre. In 1945, Billy Cane (A.J. Shively) has returned from World War II to Hayes Creek, North Carolina, and dreams of becoming a writer. With the support of his father (Stephen Bogardus) and longtime friend Margo (Hannah Elless), who has secretly loved Billy for years, he journeys to the city of Asheville. There he meets Alice Murphy (Carmen Cusack), the hard-as-nails editor of a literary magazine, who has no time for levity and little patience for fools. He also meets Alice’s assistants, the rather gloomy Daryl (Jeff Blumenkrantz) and the very pretty Lucy (Emily Padgett). The latter drops some very clear hints about her own interest in Billy. At this point, the story flashes back to 1923, when the then 16-year-old Alice was living in a small rural town and dreaming of all the wonders the world had to offer. She was also the smartest and most upfront girl of her age. She took guff from no one—be it her father
‘Bright Star’
Hannah Elless and A.J. Shively in “Bright Star.” (Stephen Lee Anderson), who long ago washed his hands of her; her mother (Dee Hoty), who vainly tries to act as peacemaker between the two; or Jimmy Ray Dobbs (Paul Alexander Nolan), the young man she’s set her sights on. However, Jimmy Ray’s father (Michael Mulheren) is determined his son marry a proper sort of girl from the right side of the tracks and follow him into the family produce business. The storylines involving Billy and Alice play out simultaneously over the course of the show before finally dovetailing to bring all the participants together. Telling more would be giv-
Theater Review
THE METROPOLITAN MUSEUM OF ART
ing away a major development—one that felt obvious long before it was revealed. At the same time, the show avoids falling into other predictable plot twists, such as an unnecessary love triangle or the easy out of using youth as an excuse for one’s actions. What makes the show resound so powerfully is that “Bright Star,” which was inspired by a true event, is first and foremost a story about family. The chief lesson here is that while such ties do indeed bind, they can also strangle you if you’re not careful. Jimmy Ray’s father does his best to end his son’s romance and finds in Alice’s father a notso-unwilling kindred spirit in this mission. The elders tell themselves that such actions are all for the best. Mulheren’s character makes this point clear with the very dark number “A Man’s Gotta Do.” As he himself was given no choice about his own future, he is now channeling his own years of bitterness onto the next generation. At the same time, the show demonstrates forgiveness and the knowledge that with age comes understanding—a point made clear in a quietly touching scene between the adult Alice and her father. He acknowledges the wrongness of his past actions and she, through her response, grants him the absolution he’s sought for so long. At the same time, the act of forgiveness allows Alice to start letting go of the
anguish she’s carried inside for over 20 years. Another moment showing the more tender side of family occurs when Billy mourns the passing of his mother. He visits her grave to say his goodbyes. Making her New York theatrical debut, Cusack turns in a dynamite performance. Her portrayal of a woman who goes through hell and comes out on the other side is nothing short of brilliant. Shively works well as the young and earnest, but not too naive Billy. Elless gives a nice girlnext-door quality to Margo, and Nolan is good as a young man with his own dreams for the future, brought low at one point, but still loyal to what was long ago. Blumenkrantz and Padgett meanwhile add some nice bits of comic relief to the proceedings. The score is delightful and much of it provides an authentic bluegrass feel. Among the more memorable numbers are “Whoa, Mama” with Cusack and Nolan, whose chemistry is palpable, as well as the touching “I Can’t Wait” and the title tune. Another strong song is “Another Round” with a boogie-woogie beat. It features Shively and Padgett and showcases Josh Rhodes’s excellent choreography. “Bright Star” is not perfect—the book needs work at points—but it does offer a powerful example of the effect family has on a person’s life and how, when a real and honest love is added to the mix, it can be a wonderful thing indeed. Plus, you get to experience frog gigging firsthand! Also in the cast are Max Chernin, Sarah Jane Shanks, Sandra DeNise, William Youmans, Michael X. Martin, Patrick Cummings, Allison Briner-Dardenne, and Tony Roach. Judd Hollander is a member of the Drama Desk and a reviewer for Stagebuzz.com
Responsibility and Self-Interest Collide NEW YORK—This is a play about women, but the occasional presence and central importance of men is felt throughout. Scottish playwright Sharman Macdonald’s “When I Was a Girl I Used to Scream and Shout” takes place somewhere in Scotland, but it could be anywhere. It deals with the trials and tribulations of a mother and daughter, and how one’s individual desires are often in conflict with the other’s. Morag (Aedin Moloney) and her grown daughter, Fiona (Barrie Kreinik), are at the seashore (set by Luke Hegel Cantarella) having a brief holiday, which Morag has arranged. Fiona compliments Morag’s outfit; Morag gifts Fiona with a dress. They make small talk, but it masks an important issue, an issue that will expose itself gradually. Right after Morag claims she loves Fiona very much, the two are interrupted by the arrival of Vari (Zoë Watkins), an old friend of Fiona’s who’s not seen her for 17 years. The play goes back and forth in time, with scenes of when the two girls were young and played rather silly games together. However, these games served to educate them for impending womanhood and for what they could expect from men. Growing into womanhood is about all these isolated girls can look forward to: marriage and motherhood. Although Fiona insists to Morag that she doesn’t want children.
As an adult, Vari’s story is very different from Fiona’s. She has married and has given birth to three children. They tie her down, but she is complacent. This is woman’s lot, after all. She’s also lost her figure through the process. She states matter-of-factly that she always gets heavy when she’s nursing. Morag’s husband walked out on her years ago, and she yearns for the company and approval of a man. Soon Morag does meet a man, an event that will turn Fiona’s life upside down. Fiona senses that Morag wants to go off with this new man. But how can she? After all, Fiona is only 15 at this time. How could her mother abandon her? And Morag will stay as Fiona has a plan. A young man, Ewan (Colby Howell), has come into Fiona’s life, and with his unknowing aid, she plans to trap her mother into not leaving her. This plan lies at the heart of the play, which goes to the universal conflict of what is more important to a woman: protecting her own flesh and blood or yielding to the desire to be protected and appreciated. The conflict is between responsibility and pleasure. The play exudes a bittersweetness. One senses the powerful tie between mother and daughter, but their helplessness is also evident. Their environment, their positions in the world, do not make for independence. These are women whose lives center around home and dependence on a man. In societies where women have earning
A strong and thoughtful production.
Theater Review
By Diana Barth
‘When I Was a Girl I Used to Scream and Shout’ The Clurman Theatre, Theatre Row 410 W. 42nd St. Tickets 212-239-6200, or Telecharge.com Running Time 1 hour, 45 minutes (one intermission) Closes May 8
capacity, these conflicts are not so severe. But even working women experience conflicts such as these. And in many parts of the world, including the United States, women experience a struggle to achieve an even keel with men. Director John Keating has done a workmanlike job with the play, the demands of which are relatively straightforward. One directorial note, though, caught my attention: When Morag declares her love for Fiona, the two characters have been placed far apart physically. Thus actress Moloney virtually has to shout her declaration of love across the stage in what would usually be an intimate moment. This staging could be taken one of two ways, or perhaps both ways. The shout could serve to accent the strong feelings Morag has for her daughter. On the other hand, it could indicate a distance between them, despite Morag’s protestations. The acting is good throughout. Fallen Angel Theatre, which is presenting this play, was founded by actress Aedin Moloney. The organization is committed to presenting “outstanding and dynamic” Irish and British plays written by and about women. Incidental music was composed by Paddy Moloney. A strong and thoughtful production. Diana Barth writes for various publications, including New Millennium. She may be contacted at diabarth@juno.com
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April 29–May 5, 2016 TheEpochTimes.com/EpochArts SAMIRA BOUAOU/EPOCH TIMES
RESIDENTS EXHIBITION Through June 3 | 46-06 11th St., Long Island City This group show presents nine emerging artists, all resident artists of Grand Central Atelier, in a showcase of new paintings, drawings, and sculpture. EleventhStreetArts.com
The RESIDENTS exhibition of Grand Central Atelier artists at Eleventh Street Arts gallery in Long Island City, Queens, during opening reception on April 15.
THINGS TO DO COMMUNITY EVENTS NEW IN MANHATTAN Innovation, Competition, and Comparison: A Mozart–Salieri Showcase May 1 at 4 p.m. Opera Learning Center, Samuel B. and David Rose Building, 70 Lincoln Center Plaza In Classical-era Vienna, colleagues and competitors Wolfgang Amadeus Mozart and Antonio Salieri came to be seen as rivals in the public imagination through both Peter Shaffer’s 1979 play Amadeus and its award-winning film adaptation. In this session hosted by the Metropolitan Opera Guild, acclaimed opera singer Jane Marsh will contrast both composers’ works and styles through the performances of four artists— pianist Daniel Fung, soprano Tracy Chang, bass Onay Kose, and mezzo soprano Sara Petrocelli. $28. MetGuild.org Falun Dafa (Falun Gong) Exercises Tuesdays at 1 p.m.–2 p.m. (through June 14) Tompkins Square Library, 331 E. 10th St. A class of five exercises including meditation. Come relieve your stress and anxieties, increase your energy and vitality, and enjoy peace of mind. Free. en.FalunDafa.org
ONGOING IN MANHATTAN Shakespeare’s Star Turn in America Through May 27 New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, 40 Lincoln Center Plaza The exhibition focuses on Shakespeare in North America from the Colonial times to the present. The multimedia exhibition uses artifacts from the Library for the Performing Arts’ unique collection to document the on-going popularity of the Shakespeare plays. Free. NYPL.org New York & The Nation Ongoing The Robert H. and Clarice Smith New York Gallery of American History, 170 Central Park West Explore the story of New York and America in the Robert H. and Clarice Smith New York Gallery of American History. $20 adults, $12 students, $15 seniors. NYHistory.org
Family Sundays at Rubin Museum Ongoing 150 W. 17th St. Bring your family to the Museum for a Sunday afternoon full of familyfriendly activities. Drop into the Education Center for some art-making, enjoy our 2 p.m. family exhibition tour, or go on your own thematic gallery search. Free. RubinMuseum.org
Film Society of Lincoln Center Ongoing Elinor Bunin Munroe Film Center, 144 W. 65th St.; Walter Reade Theater, 165 W. 65th St. Year-round programming that includes premieres of new films from an international roster of established and emerging directors. $14. FilmLinc.com
NEW ELSEWHERE Walking and Talking About Queens! Sundays, April 30, May 7, & May 14, at noon–2 p.m. Q.E.D., 27-16 23rd Ave., Queens Take a crash course on Queens, taught mostly through walking tours. The first week will feature a discussion about Queens’ history, neighborhoods, celebrities and assorted other trivia. Then it’s out into various neighborhoods the next three weeks, for walking tours. The program is led by tour guide and “Walking Queens” author Adrienne Onofri. $60. QEDAstoria.com Falun Dafa (Falun Gong) Exercises Wednesdays at 1 p.m.–2 p.m. (through June 15) Coney Island Library, 1901 Mermaid Ave., Brooklyn A class of five exercises including meditation. Come relieve your stress and anxieties, increase your energy and vitality, and enjoy peace of mind. Free. en.FalunDafa.org
VISUAL ARTS NEW IN MANHATTAN Manus x Machina: Fashion in an Age of Technology May 5–August 14 Metropolitan Museum of Art An exploration of how fashion designers are reconciling the handmade and the machinemade in the creation of haute couture and avant-garde ready-to-wear. $12–$25 suggested. METMuseum.org
Court and Cosmos: The Great Age of the Seljuqs Through July 24 Metropolitan Museum of Art Spectacular works of art created in the eleventh through thirteenth century from Turkmenistan to the Mediterranean. Approximately 270 objects—including ceramics, glass, stucco, works on paper, woodwork, textiles, and metalwork— from American, European, and Middle Eastern public and private collections will be shown. $12–$25 suggested. METMuseum.org
ENDING IN MANHATTAN Artistic Furniture of the Gilded Age Through May 1 Metropolitan Museum of Art This exhibition reveals the most sumptuous moment in late nineteenth-century America—a period known as the Gilded Age—through the work of some of the most noted design firms at the time. $12–$25 suggested. METMuseum.org
PERFORMING ARTS NEW IN MANHATTAN Persée et Andromède and L’Enfant et les Sortilèges April 29 at 7:30 p.m.; May 1 at 2:30 p.m. MSM Opera Theater, 120 Claremont Ave. Jacques Ibert’s “Persée et Andromède” with four principals, a small chorus, and orchestra: a moving interpretation of the Greek Andromeda myth; a “Beauty and the Beast” story that this production sets in a French museum in the 1950s. Maurice Ravel’s “L’Enfant et les Sortilèges” (The Child and the Spells), with libretto by French novelist Colette, is a playful and foreboding morality tale about a child’s remorse. $30. MSMNYC.edu The Alice-in-Wonderland Follies by NYTB May 1 at 3 p.m. 92nd Street Y, 1395 Lexington Ave. Follow Alice’s adventures through Wonderland as she meets some of the most beloved characters in children’s literature. Presented in a vaudeville setting, this eclectic ballet draws on many different dance forms. For age 5 and up. From $35. 92y.org
Opera Lafayette: Opera and the French Revolution May 1 at 8 p.m. Rose Theater, 3 Columbus Circle With the French Revolution raging in the streets, how did the artistic milieu of Paris react? Opera Lafayette explores opera performed during the Revolution with the Greek tragedies of Sapho, Medée, and Oedipe à Colone. From $20. OperaLafayette.org The Golden Bride May 4 at 6:30 p.m. Museum of the City of New York 1220 Fifth Ave. (at 103rd Street) The long-forgotten 1923 Yiddish operetta that plays with themes of love, wealth, and immigration electrified New York audiences this past winter for the first time in almost 70 years is back. $25. MCNY.org
ENDING IN MANHATTAN La Bohème Through May 5 Metropolitan Opera Puccini’s unforgettable tale of love, youth, and tragic loss returns in Franco Zeffirelli’s classic production, perhaps his most beloved staging of all. From $25. MetOpera.org Otello Through May 6 Metropolitan Opera Bartlett Sher’s new production of Verdi’s masterpiece stars Aleksandrs Antonenko, Sonya Yoncheva, and Zeljko Lucic, and is conducted by Yannick Nézet-Séguin. From $20. MetOpera.org Die Entführung aus dem Serail Through May 7 Metropolitan Opera Met Music Director James Levine returns to a work he has long cherished, Mozart’s delightful comic gem of wily captives in a harem. From $25. MetOpera.org Elektra Through May 7 Metropolitan Opera The genius director Patrice Chéreau (“From the House of the Dead”) didn’t live to see his great Elektra production, previously presented in Aix and Milan, make it to the stage of the Met. But his overpowering vision lives on with soprano Nina Stemme—unmatched today in the heroic female roles of Strauss and Wagner—who portrays Elektra’s primal quest for vengeance for the murder of her father, Agamemnon. From $32. MetOpera.org
ENDING ELSEWHERE Richard II Through April 29 BAM Harvey Theater, 651 Fulton St. Richard II: ruler by divine right, undone through bumbling mortal wrongs. Director Gregory Doran leads the Royal Shakespeare Company in this masterful take on Shakespeare’s incisive study of squandered sovereignty, the first chapter in the epic cycle “King and Country.” $30–$125. BAM.org Henry IV Part I Through April 30 BAM Harvey Theater, 651 Fulton St. War is imminent. Guilt weighs heavily on the newly crowned King Henry (Jasper Britton) after offing his rival King Richard. And Prince Hal (Alex Hassell) is carousing with ne’er-dowells at the tavern. So begins “Henry IV Part I,” continuing the Royal Shakespeare Company’s sweeping cycle King and Country, directed by Gregory Doran. $30–$125. BAM.org Henry IV Part II Through April 30 BAM Harvey Theater, 651 Fulton St. Henry IV’s army has suppressed the rebel uprising. But the king has fallen ill, Prince Hal (Alex Hassell) has fallen in again with the corrupting influences of Falstaff (Antony Sher), and a second uprising looms as “Henry IV Part II begins,” continuing the Royal Shakespeare Company’s sweeping cycle King and Country, directed by Gregory Doran. $30–$125. BAM.org Henry V Through May 1 BAM Harvey Theater, 651 Fulton St. Reckless youth morphs into kingly ambition as the oncewayward Prince Hal takes full command of the crown. In the Royal Shakespeare Company’s culminating chapter of King and Country, Alex Hassell (“The Caretaker,” 2012 Winter/Spring) reprises his role from “Henry IV,” bringing infinite nuance and humanity to the mettleproving sovereign: wrenching self-scrutiny on the eve of battle, tongue-tied ineptitude in the face of love, lingering guilt in the wake of fatherly sin. $30–$125. BAM.org
MUSIC NEW IN MANHATTAN Aeolus Quartet May 5 at 7:30 p.m. Baryshnikov Arts Center, 450 W. 37th St. The Aeolus Quartet (Nicholas Tavani, violin; Rachel Shapiro, violin; Greg Luce, viola; Alan
Richardson, cello) will perform Washed by Fire by American composer Keeril Makan, alongside Antonin Dvorak’s 1895 masterwork String Quartet in A-flat Major, Op. 105. $20. BACnyc.org Death and the Maiden May 6 at 7 p.m. The Grace Rainey Rogers Auditorium at the Met Two awe-inspiring meditations on death by two great masters: Schubert grappled with his own mortality in the haunting and dramatic String Quartet No. 14; Beethoven composed his String Quartet No. 12—the first of his groundbreaking “late” quartets— when he was utterly deaf and near the end of his life. MetMuseum.org Early Music New York May 7 at 7:30 p.m. First Church of Christ, 10 W. 68th St. (at Central Park West) Early Music New York’s Chamber Ensemble in works by Imperial Court composers of the House of Hasburg and 17th Century Bohemian Baroque. $40, $20 for students. EarlyMusicNY.org
ONGOING IN MANHATTAN Spiral Music Wednesdays Rubin Museum, 150 W. 17th St. Spiral Music presents acoustic music every Wednesday evening at the base of the museum’s spiral staircase. Artists who specialize in music from the Himalayas and South Asia are invited to forge a connection between their music and the art in the galleries. Free. RubinMuseum.org
NEW ELSEWHERE The Colonials: The Trout Variations May 6 at 7:30 p.m. at Staten Island Museum, 1000 Richmond Terrace May 7 at 3 p.m. at Flushing Town Hall, 137-35 Northern Blvd., Queens A mixed-period chamber ensemble founded in 2012, The Colonials specializes in historically informed period performance, classical chamber music, and newly written works. As a mixedperiod ensemble, members play both the historical and modern version of his or her instrument. $25. TheColonials.org
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April 29–May 5, 2016 TheEpochTimes.com/EpochArts
Le Marché des Merveilles Collection quartz timepieces come with a choice of colored dials, polished yellow-gold PVD cases, and calfskin or crocodile leather straps.
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GUCCI A F I N E B A L A NC E B E T W E E N QUA L I T Y A N D C R E AT I V I T Y By Emel Akan | Epoch Times Staff
F
ollowing his appointment early last year, Alessandro Michele, the new creative director for Gucci, has translated his love of antiques and vintage motifs across the brand generating great media buzz. The first watch and jewelry collection designed by Michele was shown at Baselworld this year. President and CEO of Gucci Timepieces and Jewelry Stéphane Linder also joined Gucci in 2015 after working 21 years at TAG Heuer, where he played a key role in the brand’s growth. According to Linder, the Gucci timepieces combine the quality of traditional Swiss watchmaking with a touch of Gucci’s avantgarde design. At Baselworld in Switzerland earlier this year, Pamela Tsai of the Epoch Times spoke with Linder. He talked about finding the right balance between the timelessness of a watch and incorporating elements that carry the brand’s DNA, as well as his goals for Gucci Timepieces and Jewelry.
the new designer, the creative director? Mr. Linder: Yes, we have a new designer, Alessandro Michele since the beginning of last year. In just one year, we have seen an immense revamping and repositioning of the brand. He is the fashion designer for the whole Gucci brand. He’s based in Rome. He revamped the whole brand, from the advertising to the shop to the product to the fashion show. He started to work on watches in June last year. He really enjoys designing watches. So you see his designs this year.
When you have a strong name like Gucci, you need to have products that fit the image of the brand.
The Buzz Around Gucci’s Bee
Stéphane Linder, Gucci
MATTHIAS KEHREIN/EPOCH TIMES
Ingredients of Success
Epoch Times: Can you please tell more about
Stéphane Linder, president and CEO of Gucci Timepieces and Jewelry.
Emotional Content
COURTESY OF GUCCI
Epoch Times: How do you leverage Gucci’s heritage and make the Gucci timepieces unique for watch lovers? Stéphane Linder: Gucci has been in the watch business since the 1970s. There are different fashion designers who had an immense influence on the brand’s destiny and image. First, it’s one of the very few watch brands that is really successful. We had many years of success, not only in the Gucci boutiques but also in the watch and jewelry stores where we sell the most. This is achieved because we have always stayed at the price point that is legitimate to the brand. As soon as you go too high in pricing, you start to hit your head against others like Longines, Omega, Tag Heuer, and maybe even Rolex. We have always stayed in the price point from 500 euros to 1,200 euros, and this is our strength. When you have a strong name like Gucci, you need to have products that fit the image of the brand. A watch is a timeless purchase, so it’s not a seasonal purchase as in fashion. So the big compromise and difficulty is to find this timelessness and take the little ingredients of Gucci to translate them into successful watches. So this is a fine balance between traditional Swiss watchmaking and finding the elements that make it a Gucci watch. In addition to pricing, another ingredient for success is design. It is crafted with Swiss quality, the attention to detail, with a little twist of Gucci. It has always been like this. You may remember the huge success of the G watch. It was an immense success because it was a real watch with a touch of Gucci, thanks to the G.
Epoch Times: Can you show us an example of combining the fine balance of Swiss watchmaking and Gucci’s tweaks in fashion? Mr. Linder: The fashion show is the ultimate creativity. It’s like going as far as you can in terms of creativity with a Gucci image. So one thing we thought would be interesting is to make products for the fashion show. But not only taking an existing product from the collection, but also making a completely new design. One of the symbols used a lot is the bee. We used the bee symbol in the shoes and bags, and also integrated it with the watch. So it is not printed, it is embroidery on the dial with famous Toscana leather. There are many people watching, commenting as well as bloggers, social media, and so on in every fashion show. For example, one of the products arrived in the boutiques, last November. It was sold out in two months. We don’t make in big quantities. We really want to make sure that people see they are sold out and wait for the next fashion show. This creates a buzz—a desire. This is different and unique. This is the tip of an iceberg where we present things, which are really daring. You see bees everywhere but then you have the classical Swiss watchmaking with a little touch of Gucci craziness.
The “GG2570” Collection.
Epoch Times: How do you describe the customers who appreciate the fine balance between Swiss watchmaking and Gucci creativity? Mr. Linder: Well I think it’s consumers who like luxury in general, who want a good watch, but also something a bit different and unique, with more emotional content. It gives you a feel- ing of being trendy, avant-garde. And Gucci stands so much as a reputable brand for women. It’s a touch of refinement. And it makes you say, “I am proud to wear a Gucci because I’m part of the spirit of Gucci, this amazing Italian
brand, which has a fantastic history. When I wear a Gucci, I have a little touch of Gucci sophistication.” In the United States, we sell in high-end department stores like Saks, Macy’s, and jewelers like Hamilton Jewelers, Chong Hing Jewelers, and Carat & Co in Flushing. We are well distributed in the United States. Epoch Times: Which market demonstrates the highest potential for growth? Mr. Linder: We had a very good year in the U.K. We did well in the Unites States as well. China is a bit more difficult market despite the fact that we did well in jewelry. Watches were a bit more challenging in China. We’re lucky because in our price point we’re less sensitive toward the anti-corruption campaign. In terms of potential, our biggest market is the Unites States, the U.K. is second, China is third, Japan is fourth, Korea is fifth, and Italy is sixth. So we are diversified. In terms of potential, we can do a lot better in China. Epoch Times: What is your goal for 2016 and beyond? Mr. Linder: I think one of my main goals is to develop more jewelry for the wholesale market. We started distributing jewelry wholesale. As you know, people won’t buy gold jewelry in a Gucci fashion store, but they will buy from jewelers, so we need to develop in that area. In terms of product awareness, not so many people know that we do jewelry. There is a lot of work to do. The name is strong, but we need to improve category awareness. If I tell you the name Gucci, the first thing you will say bag. Very rarely will you say watches and jewelry. This is probably one of the key challenges. Epoch Times: What do you enjoy most about working on Gucci timepieces? Mr. Linder: For me, what’s interesting is that there is this image of Gucci, the brand power, which is huge, and incredible creativity. The mix fascinates me. Because designers have the capability of seeing and mixing the colors. They come up with things we are not used to in a traditional world of watches, so I think it’s fascinating—there is an unlimited possibility of creativity. Pamela Tsai contributed to this report.
The Diamantissima Collection.
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At the Waldorf Astoria Hotel
SPRING JEWELS D I A M O N D & E S TAT E J E W E L R Y AU C T I O N The SPRING JEWELS auction will offer a range of antique, contemporary, and estate jewelry. Pieces from famous design houses such as Van Cleef & Arpels, Cartier, Tiffany & Co., and David Webb, among others, will be featured. The sale will also include a fine variety of cuff links, object d’art, watches, colored stones, and diamonds. To learn more please visit www.FortunaAuction.com or call 212-258-2188.
A stunning vintage Van Cleef & Arpels diamond, turquoise, and 18k gold bracelet. Estimated $15,000–$20,000
PUBLIC PREVIEW
AUCTION
May 17th, 10am—2pm
May 17th, 3pm
The public preview and auction will take place at the Waldorf Astoria hotel in the Peacock Alley West room on May 17. The collection can also be viewed by appointment on May 15 & 16 in our 5th Avenue office. Call 212-258-2188 for details.
608 5th Avenue, Suite 506 New York, NY 10020 | Phone: 212-258-2188 | Jewelry@FortunaAuction.com | www.FortunaAuction.com