Posts From Author: Music reviews

Revolution Begins At Home

Fun Home Book and lyrics by Lisa Kron Music by Jeanine Tesori Based on Fun Home: A Family Tragicomic (2006) by Alison Bechdel Broadway’s on a roll right now, and it’s thanks in no small part to the Public Theater. If the groundbreaking Hamilton, a sell-out success at the Public in 2015, doesn’t win Best Musical at this year’s Tonys, hats will surely be eaten. And Hamilton would make it two in a row for the Public, which also championed the breakthrough hit Fun Home. As well as taking home Best Musical last year, the show picked up awards for Best Book and Best Original Score for Lisa Kron and Jeanine Tesori. The House of SpeakEasy is delighted to be welcoming Kron back to the Public on April 19 to talk about, among other things, her role in the creation of this extraordinary musical. The show is based on the genre-defying “family tragicomic” by Alison Bechdel, which was published in 2006 and made many of that year’s best books lists. A graphic novel, a memoir, a work of literary criticism (tackling Proust and Joyce, no less), and a landmark in LGBTQ literature, Fun Home tells the story of Bechdel’s childhood in a small Pennsylvania town and her coming out as a lesbian at […]
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Review: Scheherazade.2 (World Premiere)

Scheherazade.2 — Dramatic Symphony for Violin and Orchestra (2014) by John Adams New York Philharmonic at Avery Fisher Hall; conducted by Alan Gilbert; soloist Leila Josefowicz World premiere: Thursday, March 26, 2015 Insights at the Atrium — Artist and Muse: John Adams and Leila Josefowicz David Rubenstein Atrium at Lincoln Center Monday, March 23, 2015 John Adams isn’t sure if his latest composition can be played by a man. Scheherazade.2, described as a “dramatic symphony for violin and orchestra,” emerged from a collaboration with the violinist Leila Josefowicz, and after seeing her play it, it’s certainly difficult to imagine the same work essayed by a male soloist. In a talk ahead of the world premiere, Carol Oja, the New York Philharmonic’s Leonard Bernstein Scholar-in-Residence, suggested to Adams that he had written “a feminist concerto.” And while he confessed that he never had a coherent “libretto” for the piece in his head, he did concede that she’s “like Isolde or Elektra. I can’t think of a concerto that’s that dramatically specific.” (To note, he rejects “concerto,” preferring the Berliozian construction “dramatic symphony”.) In Scheherazade.2,  the line between actor and violinist blurs. To perform it, Josefowicz prepared much as an opera singer would. She memorized the work, internalized it, began thinking of it […]
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