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Will Crutchfield's Teatro Nuovo revives Verdi's ‘Macbeth' with period instruments

Will Crutchfield's Teatro Nuovo revives Verdi's ‘Macbeth' with period instruments

NEW YORK (AP) — Verdi can be played on original instruments, too.
While historically informed performances of Baroque music are not surprising, Will Crutchfield and Teatro Nuovo are using period pieces for the rarely heard initial version of 'Macbeth.'
'You wouldn't think that architecture from the mid-19th century would resemble the architecture of today,' cellist Hilary Metzger said. 'The instruments and the way they had to make music back then were very different.'
'Macbeth' and Bellini's 'La Sonnambula' were presented by Teatro Nuovo last weekend at Montclair State's Kasser Theater in New Jersey and repeated this week at New York City Center. 'La Sonnambula' will be performed Thursday.
'I feel like I'm in Scotland,' said soprano Alexandra Loutsion, the Lady Macbeth. 'Modern instruments have a sharpness to them and a pristine quality that period instruments don't.'
Crutchfield, 68, was a music critic for The New York Times in the 1980s. He established Bel Canto at Caramoor in Katonah, New York, in 1997, then launched Teatro Nuovo as general and artistic director in 2018, showcasing scholarship and furnishing foundations for singers.
'I got bitten with the bug of historical recordings, and I realized very early on, oh, we think are doing traditional Italian opera nowadays but really what we call traditional means the 1950s,' he said. 'What they were doing in the 1900s was totally different, radically just night and day different from the 1950s. ... and that just made me really curious. OK, if it was that different in 1910, what was happening in 1880, what was happening 1860?'
Verdi emerged from Bel Canto era
Crutchfield noted Bellini, Donizetti, Rossini and Verdi all were born from 1792 to 1813, and early Verdi is in the Bel Canto manner.
'The only reason we think of Verdi as belonging to another era is because he was still composing in his 80s and writing masterpieces after the others were long gone from the scene,' Crutchfield said. 'He is based on the same tradition. He learned his craft from hearing their operas.'
'Macbeth' premiered at Florence's Teatro della Pergola in 1847, just before Verdi's middle-period masterpieces. Verdi and librettist Francesco Maria Piave revised it for a run at Paris' Théâtre Lyrique in 1865 that was performed in French. The latter version, translated into Italian for Milan's Teatro alla Scala later that year, is the most common score used.
Jakob Lehmann conducted the original version from the University of Chicago/Casa Ricordi critical edition. At Wednesday night's performance, Loutsion sang a high-octane 'Trionfai! Securi alfine,' a coloratura showpiece that Verdi replaced with the more dramatic 'La luce langue,' and baritone Ricardo José Rivera was menacing and mellifluous in 'Vada in fiamme,' which ended the third act and was dropped in 1865 for a duet between the Macbeths.
'The lady is a bit more unhinged in this one,' Loutsion said. 'It's basically about how she's gotten everything that she wants and she's triumphed, and nothing's going to stop them now.'
Orchestra seated in early 19th century arrangement
First violins were seated with backs toward the audience, facing the second violins, whose backs were to the stage. Cellos, double basses and brass were split on sides of the woodwinds in a seating Crutchfield adopted from Naples' Teatro San Carlo.
'Back in Verdi's day, the first violins were the teachers and the second violins were their students,' Metzger said.
Double basses have three strings instead of four, string instruments use gut instead of metal, woodwinds are made of wood and brass have no valves.
'There's a certain clarity to it and there's a certain specificity,' chorus master Derrick Goff said. 'The English horn and the oboe sound even more plaintive to me. You can really hear the way that the composers had to write very specifically for those instruments.'
An orchestra of about 53 was used for 'Macbeth' and 47 for 'Sonnambula,' accompanied by a chorus of 28, and the pitch was lower than used by modern orchestras. Men in the cast wore mostly tuxedos and women were dressed in black on a stage with a screen showing projections.
Majority of money comes from donors, not ticket sales
Two performances of each opera cost a total of about $1.4 million, according to general manager Cindy Marino. Ticket sales generate roughly $160,000, with the remainder raised from donors.
'We obviously want bigger choruses. We want a little bit larger orchestra,' Marino said, 'but we know financially we are trying to take it easy on increasing what we need to raise and not just jumping half a million dollars in order to grow the company.'
Orchestra rehearsals started about four weeks out. The cast worked intensively on the period techniques.
'Now that I'm leaving here, I feel like I have a whole other color palette,' Loutsion said. 'The luxury of being able to dig in and all of us nerd out is awesome.'
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Tom Lehrer, song satirist and mathematician, dies at 97
Tom Lehrer, song satirist and mathematician, dies at 97

San Francisco Chronicle​

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  • San Francisco Chronicle​

Tom Lehrer, song satirist and mathematician, dies at 97

LOS ANGELES (AP) — Tom Lehrer, the popular and erudite song satirist who lampooned marriage, politics, racism and the Cold War, then largely abandoned his music career to return to teaching math at Harvard and other universities, has died. He was 97. Longtime friend David Herder said Lehrer died Saturday at his home in Cambridge, Massachusetts. He did not specify a cause of death. Lehrer had remained on the math faculty of the University of California at Santa Cruz well into his late 70s. In 2020, he even turned away from his own copyright, granting the public permission to use his lyrics in any format without any fee in return. A Harvard prodigy (he had earned a math degree from the institution at age 18), Lehrer soon turned his very sharp mind to old traditions and current events. His songs included "Poisoning Pigeons in the Park," "The Old Dope Peddler" (set to a tune reminiscent of "The Old Lamplighter"), "Be Prepared" (in which he mocked the Boy Scouts) and "The Vatican Rag," in which Lehrer, an atheist, poked at the rites and ceremonies of the Roman Catholic Church. (Sample lyrics: 'Get down on your knees, fiddle with your rosaries. Bow your head with great respect, and genuflect, genuflect, genuflect.') Accompanying himself on piano, he performed the songs in a colorful style reminiscent of such musical heroes as Gilbert and Sullivan and Stephen Sondheim, the latter a lifelong friend. Lehrer was often likened to such contemporaries as Allen Sherman and Stan Freberg for his comic riffs on culture and politics and he was cited by Randy Newman and 'Weird Al' Jankovic among others as an influence. He mocked the forms of music he didn't like (modern folk songs, rock 'n' roll and modern jazz), laughed at the threat of nuclear annihilation and denounced discrimination. But he attacked in such an erudite, even polite, manner that almost no one objected. "Tom Lehrer is the most brilliant song satirist ever recorded," musicologist Barry Hansen once said. Hansen co-produced the 2000 boxed set of Lehrer's songs, "The Remains of Tom Lehrer," and had featured Lehrer's music for decades on his syndicated "Dr. Demento" radio show. Lehrer's body of work was actually quite small, amounting to about three dozen songs. "When I got a funny idea for a song, I wrote it. And if I didn't, I didn't," Lehrer told The Associated Press in 2000 during a rare interview. "I wasn't like a real writer who would sit down and put a piece of paper in the typewriter. And when I quit writing, I just quit. ... It wasn't like I had writer's block." He'd gotten into performing accidentally when he began to compose songs in the early 1950s to amuse his friends. Soon he was performing them at coffeehouses around Cambridge, Massachusetts, while he remained at Harvard to teach and obtain a master's degree in math. He cut his first record in 1953, "Songs by Tom Lehrer," which included "I Wanna Go Back to Dixie," lampooning the attitudes of the Old South, and the "Fight Fiercely, Harvard," suggesting how a prissy Harvard blueblood might sing a football fight song. After a two-year stint in the Army, Lehrer began to perform concerts of his material in venues around the world. In 1959, he released another LP called "More of Tom Lehrer" and a live recording called "An Evening Wasted with Tom Lehrer," nominated for a Grammy for best comedy performance (musical) in 1960. But around the same time, he largely quit touring and returned to teaching math, though he did some writing and performing on the side. 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‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025
‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025

The Hill

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  • The Hill

‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025

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‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025
‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025

San Francisco Chronicle​

time2 hours ago

  • San Francisco Chronicle​

‘Fantastic Four: First Steps' scores Marvel's first $100 million box office opening of 2025

LOS ANGELES (AP) — Marvel's first family has finally found box office gold. 'The Fantastic Four: First Steps,' the first film about the superheroes made under the guidance of Kevin Feige and the Walt Disney Co., earned $118 million in its first weekend in 4,125 North American theaters, according to studio estimates Sunday. That makes it the fourth biggest opening of the year, behind 'A Minecraft Movie,' 'Lilo & Stitch' and 'Superman,' and the biggest Marvel opening since 'Deadpool & Wolverine' grossed $211 million out of the gate last summer. Internationally, 'Fantastic Four' made $100 million from 52 territories, adding up to a $218 million worldwide debut. The numbers were within the range the studio was expecting. The film arrived in the wake of another big superhero reboot, James Gunn's 'Superman,' which opened three weekends ago and has already crossed $500 million globally. That film, from the other main player in comic book films, DC Studios, took second place with $24.9 million domestically. 'First Steps' is the latest attempt at bringing the superhuman family to the big screen, following lackluster performances for other versions. The film, based on the original Marvel comics, is set during the 1960s in a retro-futuristic world led by the Fantastic Four, a family of astronauts-turned-superhuman from exposure to cosmic rays during a space mission. The family is made up of Reed Richards (Pedro Pascal), who can stretch his body to incredible lengths; Sue Storm (Vanessa Kirby), who can render herself invisible; Johnny Storm (Joseph Quinn), who transforms into a fiery human torch; and Ben Grimm (Ebon Moss-Bachrach), who possesses tremendous superhuman strength with his stone-like flesh. The movie takes place four years after the family gained powers, during which Reed's inventions have transformed technology, and Sue's diplomacy has led to global peace. Both audiences and critics responded positively to the film, which currently has an 88% on Rotten Tomatoes and promising exit poll responses from opening weekend ticket buyers. An estimated 46% of audiences chose to see it on premium screens, including IMAX and other large formats. The once towering Marvel is working to rebuild audience enthusiasm for its films and characters. Its two previous offerings this year did not reach the cosmic box office heights of 'Deadpool & Wolverine," which made over $1.3 billion, or those of the 'Avengers'-era. But critically, the films have been on an upswing since the poorly reviewed 'Captain America: Brave New World,' which ultimately grossed $415 million worldwide. 'Thunderbolts," which jumpstarted the summer movie season, was better received critically but financially is capping out at just over $382 million globally. Like Deadpool and Wolverine, the Fantastic Four characters had been under the banner of 20th Century Fox for years. The studio produced two critically loathed, but decently profitable attempts in the mid-2000s with future Captain America Chris Evans as the Human Torch. In 2015, it tried again (unsuccessfully) with Michael B. Jordan and Miles Teller. They got another chance after Disney's $71 billion acquisition of Fox's entertainment assets in 2019. Top 10 movies by domestic box office With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore: 1. 'The Fantastic Four: First Steps,' $118 million. 2. 'Superman,' $24.9 million. 3. 'Jurassic World Rebirth,' $13 million. 4. 'F1: The Movie,' $6.2 million. 5. 'Smurfs,' $5.4 million. 6. 'I Know What You Did Last Summer,' $5.1 million. 7. 'How to Train Your Dragon,' $2.8 million. 8. 'Eddington,' $1.7 million. 9. 'Saiyaara,' $1.3 million. 10. 'Oh, Hi!,' $1.1 million.

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