It's all there: passion, infatuation, love, death, poverty, suffering, joy and art. And yet, La Boheme defies categorization as just another soap opera. After 116 years, Giacomo Puccini's music of the heart still grabs the listener's soul more willingly than any siren call ever could.
The recent performance by the St. Louis Symphony of Brahms' monumental "Symphony No. 4" marked not just a performance event, but proved once again that the SLSO is perhaps the most cogent and vital music educator in our community.
David Robertson's on-stage introduction to Philippe Manoury's "Synapse", for violine and orchestra, made more sense than the composer's own description, which fluttered about such terms as "blocks", "formulas" and "specific grammar" without really explaining their true meaning. However, Robertson's substantial personal charisma seemed insufficient to make such a piece palatable to what was easily the sparsest audience in memory at a St. Louis Symphony concert.
Few human emotions are not found in Sergei Prokofiev's epic cantata Alexander Nevsky. Fear, bravery, adrenaline rush, grief, thirst for freedom, love, the thrill of victory, and, ultimately, happiness -- all were delivered handsomely on November 19-20 by the St. Louis Symphony and Chorus under David Robertson.
A teacher of mine once observed that the defining characteristic of the Romantic era was not fiery emotionalism and heroics, but introspection. This was clearly demonstrated in the performance by Belgian guitarist Raphaella Smits in her performance for the St. Louis Classical Guitar Society on November 6, 2010, at the Ethical Society.
The Zen master D. T. Suzuki once wrote: "In Zen there is nothing to explain by means of words....Do not remain silent; nor be discursive." Performance artist Tom Brady, in his new work Emozioni Ricordati (Recalled Emotions), presented by Annonyarts, has constructed a collage of forms without form that evoke primeval memories and glimpses of what we once were, are and are becoming.