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Dave Read

BSO opens 2018 Tanglewood season with Lang Lang

Article updated July 7, 2018 by Dave Read

Andris Nelsons led the Boston Symphony Orchestra in their 2018 Tanglewood season opener, featuring pianist Lang Lang in Mozart’s Piano Concerto No. 24. Since the middle of June, the Popular Artist series has had the run of the place, through good weather and bad. Tonight felt nothing like any of our recent visits; the nearly week long heat wave broke yesterday, leaving today feeling almost autumnal!

Our seat in the Koussevitsky Music Shed afforded a view over Lang Lang’s right shoulder and while his entrance in the concerto neared, his left hand appeared to float above the piano keys, moving slowly as if suspended in some unseen solution. Then his right hand played his first notes of the composition, and we watched intently as something like a pantomime transpired in the midst of a musical performance that brought the audience to its feet in rapturous applause.

The pianist, among the world’s most celebrated, in his third Tanglewood appearance since 2003, conveys an image of weightlessness, as if he seeks to free his hands from the gravity of the body for the accomplishment of his incorporeal mission.

Lang Lang has played Tanglewood thrice

While the eye is diverted, the ear is delighted by Lang Lang’s artistry, which can include runs of notes that rush right up to and around each other. A single one can seem to linger; dozens dazzle in the span of a couple seconds, too. They are flawless, even if they do not present themselves for inspection.

Following an ovation and curtain-call, Lang Lang returned to play CHOPIN Nocturne in C-sharp minor, B. 49. He left the stage slowly, basking in the applause and acknowledging the audience as he departed; then he pulled an Elvis, tossing his handkerchief in the direction of an adoring fan!

Rounding out tonight’s program was Tchaikowsky’s Symphony No. 5, chosen because it was played on Leonard Bernstein’s storied seventieth birthday concert at Tanglewood thirty years ago. With melody after memorable melody created by way of every colorful nuance available, delivered with energetic drama, the orchestra has settled in to the summer of Bernstein.

2018 Tanglewood schedule

The 2018 Tanglewood schedulefeatures a season-long celebration of the centennial of Leonard’s Bernstein’s birth, culminating in the Aug. 25 Bernstein Centennial Celebration hosted by Audra McDonald, with Maestro Andris Nelsons, four guest conductors and soloists Yo-Yo Ma, Midori, and others.

Hotels near Tanglewood

Berkshires hotelsFind hotels near Tanglewood with user reviews, check amenities, nearby attractions, availability and then book your room reservations at these lodging establishments through our partner, International Hotel Solutions (IHS), the leading provider of secure online hotel reservations.

Tanglewood tickets and box office information

Tickets for the 2018 Tanglewood season available through Tanglewood’s website, www.tanglewood.org, SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office at 301 Massachusetts Avenue, Boston MA.

Getting around the Tanglewood campus

The Tanglewood campus, summer home of the Boston Symphony Orchestra and the Tanglewood Music Center comprises several hundred acres in the towns of Lenox and Stockbridge. It is the location of the Koussevitsky Music Shed and Ozawa Hall, where hundreds of thousands attend concerts and a variety of events, including picnics. We always advise new visitors to arrive early and take their daily walking exercise wandering the beautiful Tanglewood grounds. This dynamic map of the Tanglewood grounds includes photos and information for such points of interest as Aaron Copland Library, Highwood Manor House, The Glass House, and The Lion’s Gate.

James Taylor at Tanglewood July 4, 2018

Article updated July 6, 2018 by Dave Read

Something about James Taylor’s Fourth of July concert at Tanglewood felt low-key, but that’s in reference to a dozen or so such, which always rank among the most exciting shows of the year. Our expectations may have been out of whack because his July 4, 2008 show exploded into a celebration of his sixtieth birthday. Maybe now that the ¾ century mark is within shouting distance, seventy is not so big a deal?

James Taylor at Tanglewood July 4, 2018; Hilary Scott photo.

My reading of the show doesn’t extend to the usual aspects, such as the favorites-filled setlist of 25 songs, the 218 autographs from the lip of the stage during intermission, nor the revival-like 3 song encore when everybody got into the act, nor his awesome band. I thought he ceded primacy to Mike Landau on Steamroller, which his ace guitarist did not squander, before cutting loose with his own axe-indulgence during a coda that would not quit.

The stagecraft of James Taylor

James Taylor at Tanglewood July 4, 2018; Hilary Scott photo.

James Taylor is a master of stagecraft, that aspect of a musician’s duty to an audience that cannot help but color his virtuosity and singing. Stagecraft, a.k.a. patter, is the golden thread a singer weaves through a performance. James Taylor is so good at it sometimes that it steals the show; tonight it was spot-on, meaning that I wouldn’t have noticed it, except that I had an eye out for it.

James Taylor’s Lawn Nation at Tanglewood

The Fourth of July James Taylor concert at Tanglewood is a “bucket list” sort of event; it is a musical performance with social implications elbowing their way to the fore. It is a generational thing, with an abundance of kids running around and no shortage of patrons for whom the metaphorical bucket is the last thing they want to be thinking about. Not annual, but since Mr. Taylor built a house near October Mountain seventeen years ago, there has been at least one James Taylor Tanglewood show almost every year.

Here are snapshots of Lawn Nation, as James Taylor likes to call his Tanglewood audience. The images were made around half past six, July 4, 2018.

Bela Fleck and the Flecktones at Tanglewood, June 29, 2018

Article updated July 2, 2018 by Dave Read

Bela Fleck and the Flecktones played a generous and rousing concert in Ozawa Hall at Tanglewood on Friday, June 29, 2018. We hesitate to describe the performance as firey or electrifying, because then the band may be blamed for the heat wave that followed in their wake and three days later has not let up. This show comes a little past the midway point in the Popular Artist Series and was the first of four that we’ll attend in a six day stretch, about which we’ll write more when it’s over! Meantime, here are photos from the show:

2018 Tanglewood schedule

The 2018 Tanglewood schedulefeatures a season-long celebration of the centennial of Leonard’s Bernstein’s birth, culminating in the Aug. 25 Bernstein Centennial Celebration hosted by Audra McDonald, with Maestro Andris Nelsons, four guest conductors and soloists Yo-Yo Ma, Midori, and others.

Hotels near Tanglewood

Berkshires hotelsFind hotels near Tanglewood with user reviews, check amenities, nearby attractions, availability and then book your room reservations at these lodging establishments through our partner, International Hotel Solutions (IHS), the leading provider of secure online hotel reservations.

Tanglewood tickets and box office information

Tickets for the 2018 Tanglewood season available through Tanglewood’s website, www.tanglewood.org, SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office at 301 Massachusetts Avenue, Boston MA.

Getting around the Tanglewood campus

The Tanglewood campus, summer home of the Boston Symphony Orchestra and the Tanglewood Music Center comprises several hundred acres in the towns of Lenox and Stockbridge. It is the location of the Koussevitsky Music Shed and Ozawa Hall, where hundreds of thousands attend concerts and a variety of events, including picnics. We always advise new visitors to arrive early and take their daily walking exercise wandering the beautiful Tanglewood grounds. This dynamic map of the Tanglewood grounds includes photos and information for such points of interest as Aaron Copland Library, Highwood Manor House, The Glass House, and The Lion’s Gate.

Remembering Donald Hall, first thoughts

(Given the Tanglewood aspect of this, I’m re-posting it from my personal blog daveread.me)

June 26, 2018 – When the email announcing Donald Hall’s death arrived Sunday morning, I was drafting a letter to him, which would include a blank bookplate for him to sign, for my pre-ordered copy of A Carnival of Losses; Notes Nearing Ninety, which the publisher may be rushing to bookstores now.

In a letter dated 1 November 2016, he wrote, in response to my comment about an essay from the book published on the New Yorker’s website:

“Yup, Double Solitude is in the new book. Last week I sent it to my agent and my editor. I haven’t heard yet. I like the title: “I-89,” with the subtitle Flashparagraphs Speeding Toward Ninety.”

At the time, I suppressed the notion that publication may be dragged out in order to capitalize on his death, which this Giant of Poetry had been working against at least since first being diagnosed with cancer in 1989.

My acquaintance with him began in 2012, thanks to the power of another essay published in the New Yorker, Out the Window, from his book Essays After Eighty. I recommended it to a friend, who read it then told me she had taken one of his classes at U. of Michigan in the 1960s. I suggested she send him a note, which she did; he responded right away saying “You probably want to take me to dinner.”

She told him that I was part of the bargain, arrangements were made, and in June 2012 I enjoyed the first of three visits with Donald Hall at Eagle Pond Farm, followed by dinner at restaurants in the vicinity of Wilmot, NH.

Donald Hall at UNH, Nov. 9, 2017; photo courtesy David J. Murray
Donald Hall at UNH, Nov. 9, 2017; photo courtesy David J. Murray, ClearEyePhoto.com

We met last in November, at the University of New Hampshire, which held a celebration thanking him for the donation of his papers – comprising 600 cubic feet. He read from his work and also delivered something of a valedictory lecture, advising us of where the best poetry in English may be found.

That event triggered a couple more items that I would be enclosing in the never-to-be-finished note. Donald Hall said something along the lines of that the best poems ever written in English date from the 17th and 18th centuries. I wanted to ask him to list a dozen or so, thinking that I may study them – and maybe even have a go at “translating” them.

When I looked for a transcript of his remarks on the UNH website, I found instead mention that access to his papers would be by his permission, I thought I’d better hurry and get that note in the mail.

Don was a guest on the June 2008 broadcast of A Prairie Home Companion, with Garrison Keillor, at Tanglewood, which I reviewed for BerkshireLinks. That gave me an opening four years later when we met. Telling Don that I had been to that show, I referred to the host as simply “Garrison.” Whereupon Don stopped me in my tracks – “Garrison? He’s always been Mr. Keillor to me.”

A year or so later, after I had read Essays After Eighty, I sent him a note inviting him to visit the Berkshires, perhaps during Tanglewood season. Here’s an excerpt from his reply:

“I wish I could come down your way. [My friend] went down not long ago to look over the old Wharton place. I can’t drive any more, I can hardly walk, and needless to say I can’t fuck. I feel fine as you will discover reading the essays – but I cannot come to Tanglewood with the bachelor Norwegian farmer. He wrote me a dear and hilarious response to my Essays. Thank you and love, Don”

Why, you’re welcome Don, may you rest in peace.

Remembering Donald Hall, first thoughts

June 26, 2018 – When the email announcing Donald Hall’s death arrived Sunday morning, I was drafting a letter to him, which would include a blank bookplate for him to sign, for my pre-ordered copy of A Carnival of Losses; Notes Nearing Ninety, which the publisher may be rushing to bookstores now.

In a letter dated 1 November 2016, he wrote, in response to my comment about an essay from the book published on the New Yorker’s website:

“Yup, Double Solitude is in the new book. Last week I sent it to my agent and my editor. I haven’t heard yet. I like the title: “I-89,” with the subtitle Flashparagraphs Speeding Toward Ninety.”

Donald Hall at UNH, Nov. 9, 2017; photo courtesy David J. Murray
Donald Hall at UNH, Nov. 9, 2017; photo courtesy David J. Murray, ClearEyePhoto.com

At the time, I suppressed the notion that publication may be dragged out in order to capitalize on his death, which this Giant of Poetry had been working against at least since first being diagnosed with cancer in 1989.

My acquaintance with him began in 2012, thanks to the power of another essay published in the New Yorker, Out the Window, from his book Essays After Eighty. I recommended it to a friend, who read it then told me she had taken one of his classes at U. of Michigan in the 1960s. I suggested she send him a note, which she did; he responded right away saying “You probably want to take me to dinner.”

She told him that I was part of the bargain, arrangements were made, and in June 2012 I enjoyed the first of three visits with Donald Hall at Eagle Pond Farm, followed by dinner at restaurants in the vicinity of Wilmot, NH.

Donald Hall and Dave Read at UNH, Nov. 9, 2017; photo courtesy David J. Murray, ClearEyePhoto.com
Donald Hall and Dave Read at UNH, Nov. 9, 2017; photo courtesy David J. Murray, ClearEyePhoto.com

We last met in November, at the University of New Hampshire, which held a celebration thanking him for the donation of his papers – comprising 600 cubic feet. He read from his work and also delivered something of a valedictory lecture, advising us of where the best poetry in English may be found.

That event triggered a couple more items that I would be enclosing in the never-to-be-finished note. Donald Hall said something along the lines of that the best poems ever written in English date from the 17th and 18th centuries. I wanted to ask him to list a dozen or so, thinking that I may study them – and maybe even have a go at “translating” them.

When I looked on the UNH website for a transcript of his remarks, I found instead mention that access to his papers would be by his permission, I thought I’d better hurry and get that note in the mail.

Don was a guest on the June 2008 broadcast of A Prairie Home Companion, with Garrison Keillor, at Tanglewood, which I reviewed for BerkshireLinks. That gave me an opening four years later when we met. Telling Don that I had been to that show, I referred to the host as simply “Garrison.” Whereupon Don stopped me in my tracks – “Garrison? He’s always been Mr. Keillor to me.”

A year or so later, after I had read Essays After Eighty, I sent him a note inviting him to visit the Berkshires, perhaps during Tanglewood season. Here’s an excerpt from his reply:

“I wish I could come down your way. [My friend] went down not long ago to look over the old Wharton place. I can’t drive any more, I can hardly walk, and needless to say I can’t fuck. I feel fine as you will discover reading the essays – but I cannot come to Tanglewood with the bachelor Norwegian farmer. He wrote me a dear and hilarious response to my Essays. Thank you and love, Don”

Why, you’re welcome Don, may you rest in peace.

Schadenfreude sucks

Dave Conlin ReadSchadenfreude sucks – but the tempest surrounding the chump with the tallow-toned dome, which is im-fucking-possible not to write about, has resulted in getting a poem published; to wit, Indolent Books accepted The Outer Borough Colonel, Old Bone Spur as their Feb. 12, 2018 entry in the What Rough Beast series.

The Outer Borough Colonel, Old Bone Spur

Having ordered a parade of his own,
Trump is transformed
from Putin’s Puppet,
to Kim’s Clone.

Now, we wonder …

Will he ask bids
for a new pyramid,
or coldly evict, then
re-brand Grant’s Tomb?

He spoils even schadenfreude

I’ll post this ditty here, even though that’ll render it untouchable by most other publications.

#RhymesWithChump

He spoils even schadenfreude,
the balm we measure in scant small doses.
His corrupt domain makes it gush from fire hoses.

an ostrich plume in my tattered beret

That breaks a two year streak of “just missing the mark,” wherein some forty or fifty poems got returned to sender! I shall accept this as an ostrich plume in my tattered beret, now, and stop whining about the dull process of threading the publication-needle.

Dave Read poetry submissions

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