Itzhak Perlman's NYC townhouse has sold for $8.18M
Violin virtuoso Itzhak Perlman and his musician wife Toby Perlman have sold their historic, turn-of-the-century Upper West Side townhouse for $8.18 million, according to city property records filed on Monday afternoon.
That's less than half of the home's original $17.5 million asking price in 2022.
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8 Perlman has long been known as one of the greatest violinists in history.
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8 The massive, and light-filled, living room.
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The elegant residence, at 21 W. 70th St. just off Central Park West, comes with its own pool and sauna.
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It's where the Perlmans — who are also the founders of the Perlman Music Program for gifted young string musicians — raised their five children. The listing was last asking $11.9 million.
Itzhak Perlman, an Israeli-American who won 16 Grammy Awards and four Emmy awards, along with the Presidential Medal of Freedom, is known for his brilliant breadth of work, which includes performing the haunting solo violin passages in the Oscar-winning score for 'Schindler's List.'
8 When you are one of the world's greatest musicians, a concert grand piano is key.
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8 An extra large eat-in chef's kitchen anchors the home.
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8 There's also plenty of space for pantry storage.
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8 The dining area is also a delight.
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8 One of the home's five to six bedrooms.
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8 A rare spa level in the townhouse features an indoor pool.
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At 20 feet wide, the 8,000-square-foot dwelling is aptly close to Lincoln Center. It comes with five to six bedrooms, five baths, four powder rooms and six fireplaces — along with 1,500 square feet of outdoor spaces featuring a roof deck, a landscaped terrace and a garden.
Design details through the home, which was built in 1901, include the generous use of bold, happy colors like yellow, intricately patterned hardwood floors and lots of custom woodwork.
On the parlor level, a gracious layout includes 12-foot ceilings and a great room, while the main floor eat-in chef's kitchen is extra large and anchors the property. There's also plenty of room for a concert-sized grand piano — as well as a light-filled dining room with skylights and access to the garden, plus a wood-paneled library.
The Perlmans loved raising their kids on the Upper West Side, but they are empty-nesters now and it's time for the next family to build their dreams here, friends told Gimme Shelter.
The listing brokers were Richard Steinberg, Alexander Mignogna and Charles Beda, of Compass.
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If the humour in 'Pride and Prejudice* (*sort of)' is absurd and especially bawdy, the tone of the Stratford Festival's 'Sense and Sensibility' is lighter, slyer and also more physical. Jessica B. Hill as Elinor Dashwood, left, and Olivia Sinclair-Brisbane as Marianne Dashwood in 'Sense and Sensibility' at the Stratford Festival. Many of the laughs in Hamill's play come from her ensemble of so-called Gossips, five loquacious and prying characters who dip in and out of the action, and whose quips and spicy commentary are woven into the narrative. In this particular production, now running at Stratford's Festival Theatre, director Daryl Cloran also finds comedy in character doubling. Except for actors who play the Gossips and the eldest Dashwood sisters, every other performer plays at least two roles. Jade V. Robinson, for instance, is utterly hilarious as the youngest Dashwood sister, pouty Margaret, before transforming before the audience's eyes into Miss Lucy Steele, Elinor's cutthroat nemesis. Similarly, standout Thomas Duplessie initially appears as the skittish Edward Ferrars, Elinor's love interest who looks like a frightened cat just thrown into a pool of water, before returning later in the play as Edward's vain brother, Robert, swishing his hair with an air of pompousness. Both 'Pride and Prejudice* (*sort of)' and 'Sense and Sensibility' are equally entertaining, though I was more impressed by Hamill's ability to balance both humour and heart in her adaptation. As for McArthur's play, there's no doubt that its style of comedy might be too brash for some. For me, it certainly took some time to get used to. I also wished McArthur made more use of her framing with the five servants, to better explore the theme of class dynamics. 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